Steadfast is an expression of dance as an emotional and spiritual experience, as well as an exploration of the deep connections that may be fostered through the art form of dance. My personal experience, which will function as inspiration for this choreographic piece and performance, has led me to see dance as a means to connect with God when used as worship and a way to connect with other people and form meaningful relationships. Through the production and execution of this performing art I hope to explore and experience these aspects of dance as well as my own personal journey. I learned a vast measure about myself in my four years of college that led to the development of who I am today. This composition is meant to mirror some of the emotions that I experienced in my time of growth; however, I don’t want my piece to try to tell a story or follow a sequence of events. Instead, I hope this dance provides the audience with more of a deep, emotional, and spiritual dive into the places that my heart and soul went during this time-period. Steadfast means so much to me, and as the culminating artistic presentation in my college career, I want to use my growth as an artist and individual to display an array of emotions to the audience. The dance is a cry for help and surrender, but it also expresses the feelings of joy, love, and hope that one might feel when they make it through a valley and find themselves standing on a mountaintop. This ensuing written work is a narrative of the chorographic process and explanation of the inspiration behind the production.

A pesquisa refletiu sobre a questão da localização na Geografia, buscando compreendê-la enquanto um princípio fundamental para esta ciência. Partiu-se assim, de seu entendimento como o ponto de partida para se iniciar uma discussão encabeçada pela Geografia quando se faz a pergunta cardinal onde? Sendo assim, a partir da análise de alguns dos principais autores clássicos do pensamento geográfico, pretendeu compreender a maneira como eles se debruçaram sobre a questão, atentando para a importância que tal princípio assumiu, sobretudo, no contexto de consolidação e sistematização da ciência geográfica. Visando tal intento, a pesquisa dedicou-se então a compreender a importância da corografia e da corologia enquanto elementos definidores de uma epistemologia e de um método para a ciência, principalmente nas vozes de Alfred Hettner e Richard Hartshorne. Assim, da constatação dos autores clássicos, e na contramão do que foi apresentado por eles, foi possível ponderar sobre a possibilidade de se compreender a localização para além do viés quantitativo já consagrado na Geografia, sob influência, especialmente, da Matemática e da Física. Para além da mera constatação de um dado da superfície terrestre, o esforço deste trabalho, caminhou na tentativa de se compreender a localização no discurso geográfico mediante a ideia de que esta é capaz de evidenciar a existência do indivíduo, ordenando seu pensamento, bem como a constituição das representações que ele faz do mundo. Neste sentido, estabeleceu-se um diálogo, por exemplo, com Fredric Jameson e Martin Heidegger, a fim de se assumir definitivamente a localização a partir do que foi apresentado por Elvio Rodrigues Martins (2007). E desta forma, buscou-se fazer, antes de tudo, um resgate da localização como um fundamento da ciência geográfica, pretendendo, pois, dar uma contribuição para a discussão epistemológica desta. / The objective of this study is the location in geography, trying to understand it as a main point for science. The understanding of this location would be the main point to start a discussion led by the geography when the cardinal question where? is asked. In this way, from the analysis of some of the main classic authors who studied the geographic thought, this study intended to understand how they considered this question, focusing on the importance that this principle has taken, above all, in the context of consolidation and systemization in geography. Aiming at this intent, this study was dedicated to understand the importance of chorography and chorology as defining elements of epistemology and method for science, according to Alfred Hettner and Richard Hartshorne. Therefore, from the verification of classic authors, and opposite to what was presented by them, it was possible to consider the possibility of location beyond the quantitative direction already established in geography, under the influence of mathematics and physics. The main focus of this study, beyond the mere verification of data from the earth surface, was the attempt to understand the location in the geographic speech through the idea that it was able to show the existence of the individual, organizing ones thought, as well as the constitution of the world representations one has. In this way, a dialogue was established, for example, with Fredric Jameson and Martin Heidegger, in order to definitely assume location from what was presented by Elvio Rodrigues Martins (2007). And, this way, before anything else, the intention was to rescue the location as a fundament of the geographic science, and to contribute to this epistemological discussion.

A pesquisa refletiu sobre a questão da localização na Geografia, buscando compreendê-la enquanto um princípio fundamental para esta ciência. Partiu-se assim, de seu entendimento como o ponto de partida para se iniciar uma discussão encabeçada pela Geografia quando se faz a pergunta cardinal onde? Sendo assim, a partir da análise de alguns dos principais autores clássicos do pensamento geográfico, pretendeu compreender a maneira como eles se debruçaram sobre a questão, atentando para a importância que tal princípio assumiu, sobretudo, no contexto de consolidação e sistematização da ciência geográfica. Visando tal intento, a pesquisa dedicou-se então a compreender a importância da corografia e da corologia enquanto elementos definidores de uma epistemologia e de um método para a ciência, principalmente nas vozes de Alfred Hettner e Richard Hartshorne. Assim, da constatação dos autores clássicos, e na contramão do que foi apresentado por eles, foi possível ponderar sobre a possibilidade de se compreender a localização para além do viés quantitativo já consagrado na Geografia, sob influência, especialmente, da Matemática e da Física. Para além da mera constatação de um dado da superfície terrestre, o esforço deste trabalho, caminhou na tentativa de se compreender a localização no discurso geográfico mediante a ideia de que esta é capaz de evidenciar a existência do indivíduo, ordenando seu pensamento, bem como a constituição das representações que ele faz do mundo. Neste sentido, estabeleceu-se um diálogo, por exemplo, com Fredric Jameson e Martin Heidegger, a fim de se assumir definitivamente a localização a partir do que foi apresentado por Elvio Rodrigues Martins (2007). E desta forma, buscou-se fazer, antes de tudo, um resgate da localização como um fundamento da ciência geográfica, pretendendo, pois, dar uma contribuição para a discussão epistemológica desta. / The objective of this study is the location in geography, trying to understand it as a main point for science. The understanding of this location would be the main point to start a discussion led by the geography when the cardinal question where? is asked. In this way, from the analysis of some of the main classic authors who studied the geographic thought, this study intended to understand how they considered this question, focusing on the importance that this principle has taken, above all, in the context of consolidation and systemization in geography. Aiming at this intent, this study was dedicated to understand the importance of chorography and chorology as defining elements of epistemology and method for science, according to Alfred Hettner and Richard Hartshorne. Therefore, from the verification of classic authors, and opposite to what was presented by them, it was possible to consider the possibility of location beyond the quantitative direction already established in geography, under the influence of mathematics and physics. The main focus of this study, beyond the mere verification of data from the earth surface, was the attempt to understand the location in the geographic speech through the idea that it was able to show the existence of the individual, organizing ones thought, as well as the constitution of the world representations one has. In this way, a dialogue was established, for example, with Fredric Jameson and Martin Heidegger, in order to definitely assume location from what was presented by Elvio Rodrigues Martins (2007). And, this way, before anything else, the intention was to rescue the location as a fundament of the geographic science, and to contribute to this epistemological discussion.

En tant que sociétés, en tant qu’individus, nous fabriquons nos lieux de vie et en retour ceux-ci nous façonnent. Tout comme notre corps et notre esprit, le lieu fait partie de notre être. Être situé est axiomatique avec notre existence, et les conditions d’habitabilité des lieux sont concomitantes avec la condition humaine elle-même. Dans ce travail, nous visons à interroger ce qui fait lieu, en explorant une série de principes fondant la notion du lieu. Notion périlleuse, dans la mesure où l’acte de généralisation qu’elle implique est en porte-à-faux avec le constat que chaque lieu est irréductiblement singulier, géographiquement situé, pareil à nul autre. Si un lieu peut être envisagé comme étant un personnage, pour chaque individu et collectif qui l’investit, ce lieu constitue une affaire éminemment personnelle. Objet protéiforme, véritable « vrac », le lieu se présente à nous à la fois spatialement, par sa configuration morphologique, et socialement, comme un complexe constitué de récits, enjeux et situations. Sa représentation nécessite de recourir à des modalités d’expression visuelles et textuelles. À cet effet, nous prenons appui sur une discipline cartographique pratiquée dans l’Antiquité, ressuscitée à la Renaissance et oubliée depuis, la chorographie. Celle-ci étudie chaque lieu dans tous ses détails, visant à rendre compte de son caractère singulier. Nous pensons que la réactualisation de la chorographie, art et science, est d’une grande pertinence, face à ce que nous percevons comme une crise de lieu. À cet effet, une partie du travail consiste en l’expérimentation d’une cartographie interactive du Grand Paris / As societies and as individuals, we make the places where we live, and in return, these places make us. Just like our body and mind, place forms part of our being. To be situated is axiomatic of our existence, and the conditions that make places live able coincide with the human condition itself. In our work, we have aimed to question what makes place, by exploring a series of principles that found it as a notion. Perilous notion indeed, insofar as the act of generalization that study implies is at odds with the fact that each place is irreducibly singular, geographically situated, unlike any other. If one might envisage a place as if it were a person, such a place constitutes, for each individual and group involved with it, an eminently personal affair. Multifaceted, a « jumble », a place imposes upon us both spatially, through its morphological features, and socially, as a complex composed of narratives, issues and situations. Its representation necessitates the application of both visual and textual means of expression. Taking all this into account, we have based our argument upon a cartographic discipline, chorography, which was exercised in Classical antiquity, resuscitated during the Renaissance and since forgotten. Chorography involves the study of a place in all its details, the objective being to expose its singular nature. An art and a science, we believe that this ancient discipline should be brought up to date, that it is of particular pertinence for dealing with what we perceive as being a crisis of place. Part of our work has consisted in the experimentation of an interactive mapping of Greater Paris

This thesis proposes that maps contain much more than just a depiction of physical space. Focusing on a selection of maps of ‘Australia’, the following attributes are found in some of these maps: myth and imagination, memory, power and the evolution of a people’s relationship with a place. Each attribute is the centrepiece of a separate chapter. The investigation undertaken here begins before ‘Australia’ was a known, named and mapped identity, at least as far as Europe was concerned, and continues up to the present day. It moves from maps of the imagined, the unknown and the theoretical, the science of cosmography, to chorography, which concerns maps of the local and the known. Cosmography operates on the grandest scale attempting to depict the whole world whereas chorography attempts to map details that can be recognised on the land. The words cosmography and chorography have fallen into disuse but the meanings of both were re-examined for this work, allowing for a unique mapping picture to emerge. The dance between these two kinds of mapping is the methodological pivot around which this thesis revolves. Chapter one begins in the theoretical realm of cosmography with the creation of the Antipodes, an idea that arose as a consequence of classical and Hellenistic Greek philosophical and theoretical concepts. This land only existed on maps yet came to harbour myths and imaginary attributes. Although replaced by Terra Australis Incognita, fantasy and myth continued to inhabit this southern part of the mapped world. Explorers eroded the unknown until a European chorographical destination, Botany Bay, was mapped into place. The dance then began all over again across the landmass called ‘Australia’ as the boundary between the known and unknown was crossed and mapped. Chapter two is a detailed study of the minutiae on chorographical maps of the Burragorang Valley and surrounding area. The names used for various geographical features are shown to contain memories of past inhabitants both Aboriginal and European. These memories still exist on maps of this area whereas the land the maps depict has been radically altered by the inclusion of man-made lake that has all but removed the earlier human marks on the landscape. The power embedded in both cosmographical and chorographical maps is examined in chapter three. In 1493 Pope Alexander VI drew a line on a cosmographical map and ‘donated’ half the non-Christian world to Spain and half to Portugal, thus commencing a process whereby a few European Christian nations carved up the rest of the world with the help of the authority vested in cosmographical maps. This culminated, as far as Australia was concerned, with Lieutenant James Cook’s map of the east coast of New Holland, which enabled the British Crown to claim land to the east of the 135th meridian, the line Alexander VI had drawn. Within sixty years this claim had expanded and covered the whole of the Australian landmass. On the ground, chorography recorded each individual parcel of land as it changed from Aboriginal land to European property. In chapter four, the concern is the way maps facilitated an evolving relationship between European Australians and the land they came to inhabit rather than the use of the maps in colonial appropriation. The focus in this chapter is on marginal lands where little European involvement is evident either on the ground or on the map. Because it is here in less trampled areas that any European marker on a map becomes important, and because there are so few of these markers, it is possible to trace the way these key features have evolved and have taken on a new significance over time. / Doctor of Philosophy (PhD)

abstract: This dissertation uses the narrative practice of chorography as a genre for assessing the history of placemaking in the Salt and Gila River region of central Arizona from the late seventeenth century through the mid-nineteenth century. Chorography concerns the descriptive representation of places in the world, usually of regions associated with a particular nation. Traditionally, chorography has served as a written method for describing geographical places as they existed historically. By integrating descriptions of natural features with descriptions of built features, such as ancient ruins, chorography infuses the physical landscape with cultural and historical meaning. This dissertation relies on a body of Spanish- and English-language chorographies produced across three centuries to interpret how Euro-American descriptions of Hohokam ruins in the Salt and Gila River valleys shaped local placemaking. Importantly, the disparate chorographic texts produced during the late-seventeenth, eighteenth, and early nineteenth centuries reflect ‘discursive continuity’—a continuity of thought spanning a long and frequently disregarded period in the history of central Arizona, in which ruminations about the ruins of ancient cities and irrigation canals formed the basis for what people knew, or thought they knew, about the little-known region. When settlers arrived in the newly-formed Arizona Territory in the 1860s to establish permanent settlement in the Salt and Gila River valleys, they brought with them a familiarity with these writings, maps, and other chorographical materials. On one hand, Arizonans viewed the ancient ruins as literal evidence for the region’s agricultural possibilities. On the other hand, Aztec and Cíbola myths associated with the ruins, told and retold by Europeans and Americans during the sixteenth through nineteenth centuries, offered an imaginative context for the establishment and promotion of American settlement in central Arizona. / Dissertation/Thesis / Doctoral Dissertation History 2017

數位地方志—《枋寮100番地誌》是創作者對於家與土地的追尋與紀錄。透過新媒體iPad為敘事平台，運用新媒體敘事的互動性、行動與多媒體特色，將文學的創作結合空間系統，賦予地方志閱讀立體的空間感知。 本創作蒐集了中和枋寮在地歷史、人物與故事，並以地方的片段影像、聲音勾勒枋寮的輪廓與地方感。在敘事上，轉化原來以時間作為陳述順序的地方志結構，提出「空間」概念作為敘事主題。內容安置在地圖的經緯度間，由讀者透過街道的介面設計，展開地方內容的探索與漫遊。作品進一步結合定位與主動推播，創造在地閱讀的互動情境，內容對應著讀者所佇立的當下，空間的今昔對比形成「此在」、「此曾在」的跨時經驗。 數位地方志的互動閱讀體驗，賦予地方閱讀空間與探索的趣味，使地方志文本不再只是單向、平面的陳述。對於中和在地人而言，閱讀的過程是一場地方記憶的召喚；對於外地讀者，作品賦予漫遊者一種穿梭時空的地方體驗，提供不同觀看地方的角度與視野，文本意義皆內涵著觀者獨特的地方經驗、感受與記憶。 / "No. 100, Fang-Liau" is a chorography that displays the history of streets in Fang-Liau, Zhong-he District (中和枋寮) through an application on iPad/iPad mini. Using the iPad device as a communication platform, the project was carried out by the interactive design components, mobility, and features of “digital narrative,” in contrast to the traditional context of history. Contents of digital chorography are built base on “space” rather than the timeline structure; the design then brings user an interactive experience in reading: This project gathered local history, culture and stories of Fang-Liau; with the input of local images, video clips, audio track, and old photos of the residence, the literature is combined with space, creating a 3D perception of reading/experiencing the chorography. To enhance the sense of space, the stories are stored in a location database for user to retrieve. The “street view” interface of UI/UX design provides user the function of exploring in the context and finding stories they may be interested in, as if they’re wondering in physical space. In addition, the function of Global Positional System (GPS) and Location-based Service allows the system to notify user where they are, telling them historical stories of the place and showing them what the surrounding was like in the past. Integrating the function of visual and sound, users are immersed in the atmosphere of “space” and can further get a glance of what daily lives were like in the past. For local residents, the application can actually recalled their emotions and memories according to their own life experiences; for visitors or travelers, on the other hand, the application provides an innovation way of accessing Fang-Liau.

Mobilizing the format and legacy of the cabaret genre, the Chez Michou project intertwines the image of the French singer and drag artist Michou with a poetic reflection on disorientation. The bodies on the stage activate a queer spatiality that erases the border between the inner and outer world, between abstraction and the reality of fiction. Guiding the imagination in the confusion of identity, the choreography reveals a cartography of dislocation saturated with vivid textures of objects, gestures and words. The collapse of heteronormative structures is radicalized through the possibility of flesh to oppose fixed coordinates and perform a subject that is somehow out of place. The choreographic language is associated with the mystical insights and screenwriting actions of the cult American director David Lynch. Dramaturgy supported by musical quotes from feminist and activist icons: British music diva Annie Lennox, female post-punk band Le Tigre and iconic queer synth pop ensemble Visage Chez Michou functions as an invitation to lose ourselves, celebrates the disappearing horizon and returns to the affective territories of Otherness. The performance work "Chez Michou" is accompanied by a Choreographic Object / Object called SPOMENAR / Queer Archive of feelings as its complementary, but also independent part. Both works were premiered to the public on May 26 and 27, 2024 at the Modern Dance Theater (MDT) in Stockholm as part of the graduation mini festival. works by students of the master's degree in choreography at the University of the Arts in Stockholm. (https://mdtsthlm.se/makor-mixa-xxl-deluxe-pocetak-svega-ostalog). / <p>In the text that you can find attached to the recording of the performance, a special section is dedicated to the topic "Aging in Dance".</p><p>an important and large topic that I intend to devote myself to in the future through more extensive interdisciplinary research.</p><p>And finally, in this introduction, as a person and an artist I want to show strong solidarity with all the victims of wars, violence, oppression, colonization, racism and discrimination who are currently suffering around the world.</p><p>I wish you pleasant reading and viewing!</p>

Les XVe et XVIe siècles sont les témoins de grands bouleversements au niveau des arts et de la science et sont traversés par des tensions politiques et religieuses extrêmes. L’Empire ottoman, alors en pleine expansion, s’avançait dangereusement vers l’Occident chrétien lui-même déchiré par d’innombrables conflits internes. Située à quelques kilomètres à peine des côtes anatoliennes, l’île de Rhodes représentait un obstacle aux conquêtes de la Sublime Porte et était vue par les Occidentaux comme le dernier bastion chrétien en Méditerranée orientale. Assiégée en 1480 et finalement prise par Suleyman le Magnifique en 1522, l’île occupait une place importante dans l’imagerie occidentale de l’époque comme symbole de la lutte contre l’Empire ottoman. Dans un contexte de découvertes où se développaient les connaissances sur la géographie et où l’on se questionnait sur l’espace et la manière de le représenter, les représentations chorographiques et géographiques de Rhodes se multipliaient. Ces images mettent en scène une vision occidentale des Ottomans ainsi que la réalité conflictuelle des rapports de pouvoir entre l’Orient et l’Occident à la Renaissance. Elles sont étudiées non pas uniquement comme forme d’expression artistique mais comme constructions culturelles porteuses de l’idéologie et des impératifs territoriaux des sociétés européennes. Ce mémoire, à travers l’étude d’un corpus d’images choisies, analyse ces représentations de manière à mettre en lumière leur lien intrinsèque avec la notion de pouvoir et l’idée de possession territoriale. / The fifteenth and sixteenth centuries saw great breakthroughs in the arts and sciences and were traversed by extreme political and religious tensions. The Ottoman Empire, then in full expansion, advanced dangerously towards the Christian West, which was itself torn by innumerable internal conflicts. Located only a few kilometers from the Anatolian coast, the island of Rhodes represented an obstacle to the conquests of the Ottoman Porte, and was seen by the West as the last Christian stronghold in the eastern Mediterranean. Besieged in 1480 and finally taken by Suleyman the Magnificent in 1522, the island occupied an important place in the Western imagery of the time as a symbol of the struggle against the Ottoman Empire. In a context of discoveries and increasing knowledge about geography, and of questioning the space and the way to represent it, the geographical and chorographical representations of Rhodes multiplied. These images depict a Western vision of the Ottomans and the conflictual reality of power relationships between the East and the West during the Renaissance. They are studied not only as forms of artistic expression but as cultural constructions carrying the ideology and the territorial imperatives of the european societies. This dissertation, through the study of a corpus of chosen images, analyzes these representations in order to highlight their intrinsic link with the notion of power and the idea of territorial possession.