This thesis explores two forms of modern Scottish migration, settler and sojourner migrations. It addresses the differing motives behind the choice of migration and the impact of different host environments on the creation and use of Scottish identity, the deployment of ethno-cultural capital, the use of social networks, Scottish associationalism, nationalism, and the return behaviours of Scottish migrants since 1950. The vehicle for this exploration is a comparison of Scottish migration to New Zealand and Hong Kong, where the former is used as an example of settler migration and the latter of sojourner migration. The study uses in-depth, semi-structured life-story interviews of settler migrants and the descendants of earlier settlers in New Zealand and the sojourners and returned sojourners of Hong Kong. These oral history interviews are supported by surveys of migrants in the host locations and returned sojourners in the UK and further validated against statistical sources. The thesis argues that migrant identities are individually manufactured, plural and fluid but also subject to change dependent on the demands of environment and the individual's needs as much as any inherent national identity. The comparative nature of the study highlights that migrant responses differ between destinations. Additionally, the comparison addresses the little understood or researched modern Scottish sojourner. The comparison against the better understood settler migrant cohort draws out the differences in motivations, identity constructions and deployment of Scottishness between the migrant groups. Both groups use their Scottish identities with varying intensity. In New Zealand, where Scottish identities are part of the cultural mainstream, and maintained by a multi-generational cohort, promotion is less intense than in Hong Kong. There, the small number of Scottish sojourners actively target and promote a hybrid form of human, cultural and social capital, as both a personal resource and a basis for usable networks. The thesis labels this form of capital as ethno-cultural capital, defined as the advantage or disadvantage, which accrues to an individual from belonging to, or being associated with, a particular ethnic group. The thesis builds on earlier studies and emphasises that the fluidity of identity construction has continued into the twenty-first century. Migration requires of individuals that they constantly reappraise and recalibrate their identities to align themselves to the environments of their destination as well as the homeland upon return, a constant and circular renegotiation of change. The thesis identifies ethnocultural capital as a hybrid form of capital, suggesting that Scottish migrants tend to be among its more adept promoters. It also proposes explanations as to why Scottish migrants are prepared to invest time and resources in ethno-cultural capital promotion. Reflecting the central themes of change, flexibility and adaptability, the thesis also argues that freed from the rigidity of colonial structures, Scottish associationalism in Hong Kong has broadened its reach and become more responsive to migrant needs. In contrast, New Zealand’s traditional Scottish associations have declined and their roles as sites of memory have been replaced by newer associational forms such as family history and genealogy research.

Political disillusionment is widespread in contemporary Japanese society, despite people’s struggles in the recession. Our social relationships become entangled, and we can no longer clearly identify our interest in politics. The search for the outside of stagnant reality sometimes leads marginalised young people to a disastrous imaginary for social change, such as war and death. The imaginary of disaster was actualised in March 2011. The huge earthquake and tsunami caused the meltdown of the Fukushima Daiichi nuclear plant, which triggered the largest wave of activism since the 1960s. Based on the author’s fieldwork on the post-Fukushima anti-nuclear movements in Tokyo, this thesis investigates how the disaster impacted people’s sense of agency and ethics, and ultimately explores the new political imaginary in postmodernity. The disaster revealed the interconnected nature of contemporary society. The thesis argues that their regret about their past indifference to politics motivated the protesters into social commitment without any totalising ideology or predetermined collective identity. They also found an ambiguity of the self, which is insufficient to know what should be done. Hence, they mobilise their bodies on to the streets, encountering others, and forcing themselves to feel and think. This is an ethical attitude, yet it simultaneously stems from the desire of each individual to make a difference to the self and society. The thesis concludes that the post-Fukushima anti-nuclear movements signify a new way of doing politics as endless experiments by collectively responding to an unexpected force from an outside in a creative way.

O presente estudo buscou compreender as relações que as crianças estabelecem com a arte contemporânea quando a mesma é apresentada, discutida e explorada no contexto escolar. Refletindo sobre a desarticulação e lacuna existente entre a arte contemporânea e a concepção de arte escolar, pensada somente como um produto e aquém de um processo, esta pesquisa se propôs a investigar junto às crianças como elas se articulam com a arte contemporânea, a partir de ações propositivas que ampliam suas formas de perceber os materiais e objetos do cotidiano. Neste sentido, a arte contemporânea serviu para pensar a metodologia de pesquisa e as crianças. Sendo utilizadas referências artísticas como: Marcel Duchamp, Joseph Kosuth, Nelson Leirner, Lia Menna Barreto e Sandro Ka, investigação ancorou-se teoricamente nos estudos sobre Pesquisas com Crianças (Pereira, Rabello de Castro, Tomás, Sarmento), nos estudos da Arte Contemporânea (Archer, Cauquelin, Chiarelli e Canton), e nos estudiosos que discutem acerca das Crianças Contemporâneas (Dornelles e Heywood). Tratou-se, portanto, de uma investigação realizada dentro de uma escola pública na cidade de Porto Alegre/RS, com um grupo de nove crianças de um primeiro ano. Para este estudo foram realizadas duas semanas de observação, dezessete encontros, além de uma visita ao MARGS – Museu de Arte do Rio Grande do Sul – ocorridos entre os meses de julho a dezembro de 2012. Como recursos metodológicos, foram utilizados os encontros propositivos – denominados metodologicamente como “Encontros Crianceiros” – os registros audiovisuais, diário de campo da pesquisadora e os materiais explorados e produzidos pelas crianças. As perguntas centrais deste estudo: como as crianças se relacionam com as modalidades que a arte contemporânea suscita? E como as crianças exploram a arte quando ela adentra a escola? Foram respondidas por meio das análises feitas, que se desdobraram ao longo do período da pesquisa com as crianças. As concepções sobre arte, as maneiras como seus processos de criação ocorreram e suas relações com a materialidade, e ainda, a experimentação dos objetos por meio dos afetos estabelecidos foram os eixos principais de análises. O estudo destaca a potência existente no encontro entre as crianças e a arte contemporânea, principalmente no que se refere à proximidade e receptividade dos pequenos com as modalidades da mesma. Além disto, a pesquisa demonstra através dos processos de criação das crianças como estes são encharcados de significados e relações externas ao contexto escolar, que emergem em suas experimentações, assim como os afetos e enfrentamentos que se estabelecem na exploração, ressignificação e apropriação dos materiais e materialidades. Ao aproximar os pequenos da arte contemporânea, este estudo dá suporte para que se pense e discuta as articulações existentes entre arte e crianças nos contextos escolares, e o quanto estas relações podem ser pautadas pelos processos de experimentação e ressignificação, além de serem possibilidades de ampliação de repertórios, tanto para crianças, quanto para os educadores. / This study sought to understand the relationships that children have with contemporary art when it is presented, discussed and explored in the school context. Reflecting on the disarticulation and gap between contemporary art and design art school designed only as a product and a process falling short, this research proposes to investigate with the children how it relates to contemporary art, from purposeful actions that expand their ways of perceiving the materials and everyday objects. In this sense, contemporary art served to think about the research methodology and the children. Being used as artistic references: Marcel Duchamp, Joseph Kosuth, Leirner, Lia Menna Barreto and Sandro Ka. The research anchored itself theoretically in studies on Research with Children (Pereira, Rabello de Castro, Tomás, Sarmento), Studies of Contemporary Art (Archer, Cauquelin, Chiarelli and Canton), and researchers who discuss about the Contemporary Children (Dornelles and Heywood). It was, therefore, an investigation into a public school in the city of Porto Alegre / RS, with a group of nine children of a first year. For this study were made twice weeks of observation, seventeen meetings, plus a visit to MARGS - Art Museum of Rio Grande do Sul - occurred between the months from July to December 2012- As methodological resources were used in propositional meetings - as methodologically called "Encounters Crianceiros" - audiovisual records, the researcher's field journal and materials exploited and produced by children. The central questions of this study: how children relate to the modalities that contemporary art raises. And how children explore art when it enters the school? Were answered through of the analyzes performed, which unfolded over the period of research with children. Conceptions of art, the ways their creative processes occurred and its relationship with materiality, and also experimentation of objects using of affections were established the main axes of analysis. The study highlights the potency existing in the meeting between children and contemporary art, especially in relation to the proximity and responsiveness of children with the same modalities. Apart from this, research demonstrates through the processes of creation of children as they are drenched in meanings and relationships outside the school context, that emerge in their experimentations, as well as affections and confrontations that are established in the exploration, redefinition and appropriation of materials and materiality Approaching the children of contemporary art, this study supports that think and discuss the joints between art and children in school contexts, and also how these relationships can be guided by the processes of experimentation and reframing as well as being possibilities expansion of repertoire, both for children and for educators.

O presente estudo busca compreender a poética do bailaor e coreógrafo espanhol Israel Galván (Sevilla, 1973) e sua importância nas transformações pelas quais a dança flamenca tem passado nas últimas décadas. A etnografia foi o método de pesquisa utilizado, tendo como instrumentos de coleta de dados a observação participante, entrevistas, análise de material audiovisual e fotográfico. A partir do exame desse material, e com ênfase na análise do vídeo de estreia do espetáculo ¡Mira! Los zapatos rojos, de 1998, identificam-se características presentes na citada obra, as quais foram desenvolvidas pelo artista ao longo de sua carreira. Entre as singularidades que emergiram dessa investigação podemos elencar: a presença de elementos autobiográficos; o corpo como centro da pesquisa; a ruptura da estrutura coreográfica do flamenco e a introdução de conceitos da dança e da arte contemporâneas. Galván desenvolveu uma linguagem única e, com suas inovações, enriqueceu o repertório do flamenco com novos movimentos e conceitos. É considerado um dos maiores revolucionários dessa dança. / This inquiry aims to comprehend the poetics of Spanish bailaor and choreographer Israel Galván (born in Sevilla, 1973) and its significance in the context of the transformations flamenco dance underwent for the last few decades. In the present work, ethnography is the elected method of research; accordingly, data gathering was carried out by means of participant observation, interviews, and the analysis of both audiovisual and photographic records. By going over the data –with analytic emphasis on the footage material from the opening night of ¡Mira! Los zapatos rojos, performed on stage in 1998– it is possible to isolate certain features of this particular work by Galván which were being cultivated by the artist throughout his career. From this investigation, the following can be singled out: the salience of subjectivity; the body, construed as the choreographic research’s very core; the artist’s own breaking free from flamenco’s choreographic structure, and, by doing so, his inception of concepts borrowed from contemporary dance and arts. Galván has developed a unique language and, with his innovations, has invigorated flamenco’s repertoire with new movements and ideas. For all these reasons, he stands as one of the most revolutionary choreographers in the genre.

Esta Tese tem como tema de pesquisa as relações entre crianças e adultos na Contemporaneidade. Caracteriza-se como uma pesquisa do presente que empreende um olhar genealógico para compreender práticas atuais entre os sujeitos infantis e os sujeitos adultos. Este estudo inscreve-se numa perspectiva pós-estruturalista de pensar a Educação e seus contornos, a partir do aporte teórico dos Estudos Foucaultianos, especialmente com as noções de genealogia e governamentalidade. A considerar que, na Contemporaneidade, há deslocamentos nas formas de viver o exercício do governamento infantil, esta pesquisa tem como objetivo compreender as condições de possibilidade que estabeleceram o exercício das práticas, entre crianças e adultos, nos mais distintos espaços, bem como problematizar o sentido que essas práticas assumem no contemporâneo. Para tanto, foram analisados os seguintes documentos, Programas e Leis: Declaração dos Direitos da Criança (1959), Constituição Federal (1988), Estatuto da Criança e do Adolescente (1990), Programa Primeira Infância Melhor (2006) e Lei Menino Bernardo (2014). Tal análise possibilita compreender que, na Contemporaneidade, está sendo produzida uma infância de direito e uma infância protagonista. Essas formas de compreender a infância foram consideradas como algumas das condições de possibilidade para as práticas atuais entre sujeitos infantis e adultos. Com o olhar de pesquisador cartógrafo, foram selecionadas e analisadas situações do cotidiano que evidenciaram deslocamentos do exercício de governamento entre crianças e adultos, movimento que foi nomeado nesta Tese como infantocracia. / This thesis has - as a research theme - the relationships between children and adults in the Contemporaneity. It is characterized as a current research, which adopts a genealogical point of view to understand current practices between infant and adult subjects. This study follows a post - structuralist perspective of thinking about Education and its outlines, based on the theoretical contribution of Foucault Studies, especially through the notions of genealogy and governmentality. Considering there is a movement in the ways of practicing children's governance, in contemporaneity, this research aims at understanding the conditions of possibility that established these practices, between children and adults, in the most distinct spaces, as well as questioning the meaning that these practices assume in the contemporary. Therefore, the following documents, Programs and Laws were analyzed: Declaração dos Direitos da Criança (1959), Constituição Federal (1988), Estatuto da Criança e do Adolescente (1990), Programa Primeira Infância Melhor (2006) e Lei Menino Bernardo (2014). This analysis made it possible to understand that, in the Contemporaneity, a rights childhood and a leading childhood were produced. These forms of understanding childhood were considered as being some of the conditions of possibility for the current practices among children and adults. Through the view of researcher cartographer, we selected and analyzed everyday situations that evidenced this movement of the exercise of governance between children and adults, a movement that was named in this thesis as infantocracy. Based on the analyzes, it was possible to affirm that the principle of full protection - noticed in the different studied documents - can be considered a strategy to gather the child population, and that the constitution of these subjects (as protagonists and subjects of rights) is presented as a condition of possibility for the emergence of infantocratic practices. Such practices, taken as central in this study, trigger the formation of flexible, healthy, self-entrepreneurs, and proactive subjects: necessary characteristics for the subjects of neoliberal governmentality. It is also possible to affirm that infantocratic practices constitute a change in the ways of understanding and of living the relationships among children and adults in Contemporaneity, and that they are only achievable thought the grid of intelligibility of the neoliberal governmentality. Therefore, this thesis supported the following statement: from the conditions that established the child as a protagonist and subject of rights - established in the neoliberal political rationality of our time - there are changes in the ways of understanding and of living the practice of governance practices among adults and children, named here as infantocratic practices.

This study investigates the subject of illusionism in contemporary American fiction. A recurrent yet under-examined theme, the history of stage magic in the U.S. suggests how an earlier age domesticated the seeming sorcery of market capitalism, credit, limitless self-(re)making, and ethnic vanishing. Such conditions provide antecedents and analogues for the writing of fiction in a world of digitalized knowledge, work, identity, and financialization. Self-reflexively illusionist fiction today represents itself ambivalently as magical entertainment. Is its function to mesmerize audiences or alert them to ideological sleight-of-hand? If the enchantments of literary art screen the machinations of power, how do novelists preserve fiction's capacity to inspire wonder, affective experience, and ethical commitment? Chapter One argues that Cormac McCarthy's Blood Meridian presents illusionism as integral to imperialism and commodification, as well as to its own artistry. McCarthy indicates the instrumentalization of aesthetics under late capitalism yet seeks through moments of enchantment to transcend it. Chapter Two shows that in Mr. Vertigo by Paul Auster and In the Lake of the Woods by Tim O'Brien, fiction’s "magic" lies in transcending social differences and inspiring empathy, but that the historical residue of racism in American illusionism obstructs the effort to imagine otherness. Both novels reframe the worth of fiction as therapeutic. Chapter Three argues that the figure of Harry Houdini embodies literature's status as primarily entertainment, inspiring wonder rather than critique. Michael Chabon's Kavalier & Clay celebrates escapistry, but seeks through Houdini to restore a utopian dimension to entertainment. / 2017-11-04T00:00:00Z

abstract: Venezuelan maraca playing is largely unknown to musicians with Western Art Music backgrounds. While some composers utilize the instrument and its associated performance practices, the resources available to learn about the subject are limited and scattered. Through research, observations, and studying with correspondences, this document will explore the vastness of Venezuelan musical concepts and maraca techniques to seek out common goals and generate a resource that is accessible to musicians and musicologists. A large part of this research will focus on the Contemporary Music in the Western tradition that has been inspired by Venezuelan maraca playing. I will explain the context in which this music is commonly found and how to apply it to a contemporary setting. The individuals I interviewed span a variety of backgrounds and expertise. All have extensive experience in Venezuelan maraca traditions. Their individual points of view will give unique perspectives to help affix the music of the past to the creation of music in the future. The limited resources on this subject inhibit education, performance quality, new music, and further research. Ultimately, my document and recordings will provide imperative examples to help develop a greater understanding of an understudied Venezuelan art form. / Dissertation/Thesis / recording of Music for Botany / recording of Javier Alvarez's Temazcal / D.M.A. Music 2012

The relationship between dancers and choreographers has often been described as problematic, with the dancer as the silent victim of the powerful choreographer. On the other hand, contemporary choreography has been presented as an inherently collaborative process in which the dancer participates in the creation of movement material, even if she is not credited as a co-author. My thesis explores what we can learn about the social organisation of contemporary choreographic practices by shifting our methodological focus from dance studies to the study of organisational behaviour and interaction. This interdisciplinary approach is based on an understanding of professional dance companies as work organisations with goals to achieve and resources to manage. Professional dance-making is a work activity, and therefore dance companies must be to some extent comparable with other organisations functioning in the same cultural and societal framework. I suggest that by using theories of organisational behaviour to contextualise dancers’ and choreographers’ work relationships we can better understand how their professional identities are implicated in choreographic practices. The data for this research come from two ethnographic case studies of professional contemporary dance companies in the process of making new work. Thematic analysis has been combined with close readings of communicative events to shed light on how choreographic processes are socially constructed and organised through multimodal embodied interaction between the participants. The study shows that in order to understand the dancer’s agency and sensemaking in a choreographic process it is crucial to understand that communication encompasses all aspects of behaviour, not just verbal activity, and that the choreographer’s leadership is dependent on the dancers’ cooperative followership. Organisational concepts such as sensemaking and communities of practice, and theories of leadership, followership and communication, were found to be in many ways applicable to contemporary choreographic processes, suggesting that this perspective could be useful for dance practitioners and scholars alike.

Resumo: A pesquisa proporcionoua crianças do ensino fundamental da rede pública municipal de São Paulo vivências em Dança por meio de um Programa de atividades artísticas que integroua linguagem da Dança coma Música,o Teatroe as Artes Visuais.O programa, denominado "Vivências do Corpo", buscou sensibilizar as crianças paraa relação delas com seu corpo, como "outro"e como ambiente em que vivem.O objetivo da pesquisa foi analisar como um Programa dedicadoa vivências em Dança no ambiente escolar pode potencializaro processo de interação entre as crianças do ponto de vista da sociabilidade. A idealização desta pesquisa partiu da observação de duas experiências pessoais:a primeira,a maneira desrespeitosa e, por vezes, agressiva de as crianças se relacionarem no ambiente escolar;a segunda, atreladaa um projeto de ação cultural envolvendoa linguagem da Dança, com outra comunidade escolar, que também se encontra inserida em uma infraestrutura urbana sociocultural, que incitaa um contexto de vulnerabilidade. Esse projeto, realizado em uma escola localizada na periferia da zona oeste de São Paulo foi desenvolvido no ano de 2008 pelo Grupo de Pesquisa Dança: Estética Educação (GPDEE) do Instituto de Artes da Unesp,e destacouo escasso contato dessa comunidade coma Arte. O GPDEE deu continuidade ao trabalho nessa comunidade escolar com outro projeto de ação cultural, ao qual esta pesquisa esteve vinculada. Com abordagem qualitativa,a pesquisa apresentou como estratégiao estudo de caso que foi dinamizado coma efetivação do Programaa crianças do terceiro ano da referida escola. Foram realizadas entrevistas semiestruturadas com essas crianças, antese depois da aplicação do Programa, registradas em vídeo,e que serviram como fonte de dados... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research provided to children from basic education of municipal public school of São Paulo, experiences in dance through a program of artistic activities that integrated the language of the Dance with the Music, Theatre and Visual Arts. The program called "Vivências do Corpo" it was tried to make children aware of their body with others next to them and the environment which they live. The purpose of the research was to analyze how a program can be devoted to experiences in Dance in the school environment can enhance the interaction between the children in the view of sociability. The meaning of this research came from the observation of two personal experiences: the first was the disrespectful and aggressive relationship children to each other in the school environment; the second was linked to a cultural action project involving dance language with other school community, which is also introduced into a socio-cultural urban infrastructure that encourages a context of vulnerability. This project was done in a school located on the West outskirts of São Paulo it was developed in 2008 by the Research Group Dance: Aesthetic Education (GPDEE) of the Art Institute of Unesp and pointed the little contact that community hás with art. The GPDEE continued the work in this school community with another cultural action project to which this research was linked. With a qualitative approach, the research presented as strategy a case study that was dynamized with the program for children of the third year of that school. Semi-structured interviews were made with these children before and after program aplication, recorded by videofilm, which served as a source of data for analysis of this research. As a result it was possible to see the enhance of social relations among children in the act of teaching... (Complete abstract click electronic access below). / Orientador: Kathya Maria Ayres de Godoy / Coorientador: Rita de Cássia Franco de Souza Antunes / Banca: Luiza Helena da Silva Christov / Banca: Larissa Michelle Lara / Mestre

A pesquisa intitulada Motivação Criadora e Recepção Estética no Espetáculo Re-Sintos da Muovere Companhia de Dança tem a seguinte indagação: Como operam as motivações criadoras e o processo de recepção de um espetáculo de dança contemporânea? O espetáculo escolhido para investigar o processo de criação e recepção traz o cruzamento das fronteiras entre a dança e o teatro, seja pela composição do elenco de bailarinos e atores, seja pela direção geral e cênica ter sido realizada, respectivamente, por Jussara Miranda e Jezebel de Carli, uma artista da dança e outra do teatro. Re-Sintos apresenta como características: a ênfase da não neutralidade facial; a utilização de elementos sonoros, ora produzidos pelos bailarinos, ora acompanhados pela trilha musical; a utilização de cenário, o uso de narrativa fragmentada; a utilização de diálogo com questões do cotidiano; por fim, valoriza a plasticidade do movimento corporal como principal fio condutor. Como modo de sistematizar e organizar a leitura, esta pesquisa é dividida em três capítulos: O capítulo I analisa como acontece a articulação entre a dança e o teatro no espetáculo Re-Sintos. O capítulo II verifica o que envolve o processo de recepção e como o espetáculo se oferece ao exercício receptivo. O capítulo III examina e apresenta o modo como opera a produção e a recepção do espetáculo Re-Sintos a partir de algumas características aproximativas do rizoma de Gilles Deleuze e Félix Guatarri. As características presentes no Re-Sintos retratam um modo de condução do trabalho, no qual se evidencia a presença de um caráter investigativo que tem como efeito a multiplicidade. Essa multiplicidade compreende as conexões, as rupturas e as contaminações consentidas pelo olhar questionador dos produtores num processo dinâmico de territorialização, desterritorialização e reterritorialização da criação. Quanto à recepção estética, observa-se que cada espectador articula os conhecimentos prévios, os sentidos plurais e paradoxais em linhas de segmentaridade e linhas de desterritorialização. Como a percepção produz constantemente conexões e desdobramentos, ao criar novos nexos e exigir sem cessar outros agenciamentos, os vínculos entre as motivações criadoras e a recepção estética são rizomáticos e não permitem ao espectador a identificação completa das fontes ou origens. / The research entitled Creative Motivation and the Aesthetic Reception at Re- Sintos Performance of Muovere Dance Company has a question: How creative motivations and receptive process operate in a contemporary dance performance? The performance chosen to investigate the process of creation and reception crosses the borders between dance and theater, either by the casting composition by dancers and actors or by the general and scenic direction done, respectively, by Jussara Miranda and Jezebel de Carli, a dance artist and a theater artist. Re-Sintos has as characteristics: the emphasis of the non-facial neutrality; the utilization of sound elements, be it produced by the dancers or accompanied by the musical track; the scenery presentation; the use of the fragmented narrative; the utilization of dialogue with daily subjects; at least, values the corporal movement plasticity as its principal thread. As a way to systematize and organize the reading, this research is divided in three chapters: Chapter I analyses how the articulation between dance and theater happens at the Re-Sintos performance. Chapter II verifies what involves the reception process and how the performance offers itself to the receptive exercise. Chapter III examines and presents the way how the production and the reception of the Re-Sintos performance operate from some approximate characteristics from Gilles Deleuze and Félix Guattarri's rhizome. The features presented in Re-Sintos portray a conduction way of the work, which shows the presence of an investigative character that has the multiplicity as its effect. This multiplicity comprehends the connections, ruptures and contaminations consentied by the questioning way of look of the producers in a dynamic process of the creation's territorialization, deterritorialization and reterritorialization. About the aesthetic reception, it is observed that each spectator articulates its prior knowledge, the plural and paradoxical feelings in lines of segmentarity and lines of deterritoriamization. As the perception produces constantly connections and consecutive developments, when it creates new connections and demand without ceasing other agency the links between the creative motivations and the aesthetic receptions are rhizomatous and do not allow the spectator the full identification of the sources or origins.