Abstract The nexus between Uganda’s contemporary art and politics forms the overarching theme of this thesis. The trajectory of Uganda’s contemporary art as a political expression has been retraced. The different political dispensations which have shaped Uganda’s political art have been analysed. The political postures and visual symbols Uganda’s contemporary artists have engaged have been analysed in the context of the wider socio-political discussions which have shaped, and been shaped by, the country. It has been contended that different political epochs have invited response from Uganda’s artists since the early- 1940s. Whereas this debate has been attempted by varied scholars, it has not been rigorously pursued. Formalist discourses seeking to prioritise formal aesthetics have been engaged; conclusions that after 1986 contemporary Ugandan art[ists] became apolitical have been made. With emphasis on two contemporary artists—Fred Kato Mutebi and Bruno Sserunkuuma—this formalist reading has been decentred; the socio-political relevance of Uganda’s contemporary art has been retraced and prioritised. It has been argued that although initially depoliticised through colonial modernity, Uganda’s contemporary artists have been sensitive to the socio-political conditions affecting their space and time; issues of governance and service delivery have preoccupied them albeit in different but often complementary ways.

[pt] Depois da explosão demográfica das grandes cidades, da diminuição dos espaços internos das moradias e da hostilização dos espaços públicos, pode-se estar vivenciando o esvaziamento ou limitação de valor simbólico dos objetos industrializados para residência e uma possível preponderância de valores inócuos, tendendo ao historicismo nostálgico ou decorativismo falacioso. Esvaziamento provocado pela massificação da indústria, suportada quase exclusivamente pela publicidade, em detrimento de uma simbologia verdadeira e própria de um tempo ou uma região. Como pode então o designer elaborar um ambiente que atenda às subjetividades do indivíduo? Dispor várias peças em um ambiente é lidar com um momento de verdade íntima, constituído por uma subjetividade sem efemeridades e modismos. Na busca de fatos e impressões, foram realizadas, em quatro capitais brasileiras - Rio de Janeiro, São Paulo, Salvador e Recife, entrevistas com pessoas que se propuseram decorar a sala de estar de suas residências e esses espaços foram analisados. Foram escolhidas, como perfil de entrevistado, pessoas de poder aquisitivo padrão B e C cujas salas medissem entre 18 e 35m. Verificou-se o alcance da significação dos objetos no percurso pelas instâncias sociais, da concepção ao momento de uso. Das entrevistas, foram identificados parâmetros de valores norteadores na construção dessa significação. Foi verificado também como se estabeleceu a relação entre o discurso subjetivo dos desejos humanos e a matéria-artefato na ambientação contemporânea. Este trabalho proporcionou uma reflexão sobre o papel do design na elaboração de ambientes que atendam às necessidades elementares ou subjetividades do indivíduo, colaborando, assim, para sua saúde física e mental. / [en] After the demographic explosion of the big cities, reduction of the internal spaces of the housings and hostilization of the public spaces, we can be living the emptyning or limitation of symbolic value of industrialized objects for residence and a possible superiority of inoccuous values, tending to the nostalgic historicism or fallacious decorativism. Emptyness provoked by massification of the industry, supported almost exclusively for the advertising, in detriment of a true and proper symbology of a time or a region. Thus, how can a designer elaborate an environment that attends the individual subjectivities? To make use or arrange furniture and objects in our room is to deal with a moment of close truth, without efemerities and modisms. In the search of facts and impressions interviews were elaborated in four Brazilian capitals: Rio de Janeiro, São Paulo, Salvador and Recife. Those interviews were made with people who decorated their living room by their own. These spaces had also been analyzed. It was chosen as a standard profile interviewed people of purchasing power levels B and C, whose rooms measured between 18 to 35m. The reach of the meaning of objects in the passage for the social instances was verified, from the conception to the moment of use. From the interviews parameters of reference values were identified, on the construction of this signification. It was also verified how was established the relations between the subjective speech of the human desires and the substance-device in the contemporary ambientation. This work provided a reflection on the role of design in the environment elaboration that takes care of to the elementary necessities or subjectivities of the individual, collaborating, thus, for its physical and mental health.

Cette thèse s’intéresse à un mode de réflexivité spécifique qui se dessine chez certains artistes contemporains comme Jérôme Bel, Philippe Quesne, Grand Magasin, entre autres. L’interrogation sur le théâtre – sa nature, son fonctionnement, sa nécessité et sa pertinence au sein de la société –, s’accompagne d’un souci de rapprochement avec le public, observable dans la forme des spectacles : effort de clarté, explicitation des règles du jeu, réserves par rapport au savoir-faire théâtral, mélange de références cultivées et de références populaires. Pourquoi ces productions subventionnées, jouissant de prestige et de reconnaissance au sein des institutions publiques, prennent-elles comme objet le dispositif théâtral lui-même ? Et pourquoi le font-elles de cette manière ? Le métathéâtre du début du XXe siècle, qui présentait des thèmes et structures similaires, réagissait au risque d’obsolescence de la scène, de sa faillite économique et plus encore de la perte de sa validité au sein du monde industrialisé. Notre hypothèse est que le métathéâtre contemporain repose sur un rapport ambivalent avec la représentation théâtrale : entre fascination pour son fonctionnement en tant que structure et scepticisme à l’égard de sa puissance référentielle, d’où résulte un jeu pour le jeu qui ne peut pas se permettre de se prendre au sérieux. D’autres ambiguïtés concernent le rapport au patrimoine culturel occidental, le rapport à l’altérité (sociale, esthétique) et l’inscription dans le système institutionnel. Autant de traits que l’on retrouve hors du monde artistique. Parce qu’il nous donne à voir les représentations mentales qu’ont aujourd’hui du théâtre des artistes qui occupent un rôle important dans le paysage théâtral, le métathéâtre nous est apparu comme une forme privilégiée pour cette observation. / This dissertation addresses a specific mode of reflexivity that appears in the work of certain contemporary artists, such as Jérôme Bel, Philippe Quesne and Grand Magasin. The examination of the theatre — its nature, its function, its necessity and its pertinence within society — is accompanied by a particular concern for getting closer to the audience. This is observable in the form of these artists’ performances, expressed in how the performances give attention to clarity, explain the rules of the game, relate hesitations concerning theatrical savoir-faire, and mix learned and popular references. Why do these subsidised productions, largely praised and recognized within public institutions, take the theatrical apparatus itself as their subject? And what is behind their choice of approaches? The metatheatre of the beginning of the 20th century, which presented similar themes and structures, responded to the risks of the obsolescence of the stage, of its economic collapse, and of its loss of legitimacy within the industrialised world. My hypothesis is that the contemporary metatheatre of the 21st century is based on an ambivalent relation to theatrical performance: between fascination for its functioning as a structure and scepticism with regard to its referential power. This results in a play made for its own sake which refuses to allow itself to be taken seriously. Other ambiguities concern the relation to Western cultural heritage, the relation to otherness (social, aesthetic) and the forms of integration within institutional systems -- traits found just as easily outside the artistic world. Because it reveals how artists occupying an important role in the theatrical landscape view theatre itself, this study considers metatheatre a privileged form of observation.

[pt] O problema da morte da arte atravessa praticamente toda a história artística moderna. As preleções sobre estética de Hegel, realizadas não muito tempo depois da fundamentação kantiana de um juízo de gosto autônomo, já apresentam a idéia da dissolução da arte- a qual teria, nas palavras do filósofo, se tornado coisa do passado. Este trabalho pretende investigar a estreita e intrigante conexão entre uma arte que finalmente obteve sua autonomia na época moderna e a sombra constante de sua própria morte. Seja nos discursos estéticos que, desde os primórdios da modernidade, assinalam uma obsolescência da arte, seja no ímpeto crítico-revolucionário das vanguardas, que ensaiaram uma autodestruição da esfera artística, seja numa contemporaneidade em que parecem se apagar quaisquer distinções palpáveis entre a obra de arte e os demais produtos, entre valor estético e valor de troca, a questão da morte da arte, de um modo ou de outro, confirma sua presença. Indagar o sentido dessa longa vigência, assim como averiguar sua persistência no horizonte artístico contemporâneo, é, em resumo, a proposta da tese. / [en] The problem of the death of the art crosses practically all modern artistic history. The Hegel’s lectures Aesthetics, delivered not much later of the Kantian validation of an autonomous judgment of taste, already present the idea of the dissolution of the art- that would have, in the words of the philosopher, become thing of the past. This work intends to investigate the narrow and intriguing connection between an art that finally reached autonomy at the modern times and the constant shade of its proper death. Either in the aesthetic discourses that, since the beginning of modernity, indicate an obsolescence of the art, either in the critical-revolutionary impulse of the avant-gardes, that had fomented a selfdestruction of the artistic sphere, either in our present time, where any concrete distinctions between the work of art and other things, that is, between aesthetic value and exchange value, seems to disappear, the question of the death of the art, in one way or another, confirms its presence. To inquire the meaning of this long validity, as well as verifying its persistence in the contemporary time, is, in short, the proposal of this work.

Cette recherche se structure autour de quelques pratiques documentaires dans le contexte italien contemporain : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Étudiées en tant que méthodes particulières de médiation et d’écriture parmi de nombreuses autres agençant l’univers médial actuel, ces expériences nous révèlent leur spécifique statut écologique. C’est à une écologie générale (socio-politique, perceptive et symbolique) qu’on se réfère : celle qui a été proposée par des théoriciens tels que Felix Guattari, Tim Ingold ou Bruno Latour. Fidèles à un certain empirisme habitant ainsi qu’à une attention interactive envers nos milieux, ces créations documentaires captent, questionnent et racontent l’ensemble enchevêtré de présences composant nos milieux. Malgré un intérêt cinématographique prioritaire (pour Michelangelo Frammartino, d’abord), les théories et les exemples mobilisés permettent de définir une catégorie de « documentaire » capable d’inclure des formes médiales très variées comme la littérature (à travers Gianni Celati, surtout) ou le théâtre sur la base d’un principe commun d’enquête appareillée des environnements qu’on habite. Entre les lignes de ce paradigme écologique et trans-médiale du documentaire nous identifions les coordonnées d’une manière plus soutenable et attentive d’habiter les milieux complexes (autant « naturels » que sociaux, techniques et sémiotiques) dans les lesquels nous sommes toujours déjà impliqués. Elle est inaugurée par d’autres récits et d’autres perceptions de ce qui nous entoure qu’on appellera des « contre-fictions ». / This research takes place among some documentary practices in the contemporary Italian field : Michelangelo Frammartino, Gianni Celati, Pietro Marcello… Studied as specific methods of mediation and writing in the middle of many others organizing today’s medial world, these experiences reveal us their specific ecological status. We refer to a general ecology (socio-political, perceptive and symbolic) : the one that has been defined by thinkers like Felix Guattari, Tim Ingold or Bruno Latour. Devoted to an empirical dwelling as much as to an interactive attention towards our environments, these documentary creations record, question and narrate the entanglement of presences composing our milieux. Despite a fundamental cinematic interest (first of all for Michelangelo Frammartino), the theories and the exemples taken into account allow us to define a category of « documentary » capable of including other medial forms like literature (through Gianni Celati, above all) or theatre on the basis of a commun technical exploration of the environments we dwell in. Between the lines of such an ecological and trans-medial concept of documentary we spot the landmarks of a more sustainable and attentive way of living the multilayered environments (« natural » as well as social, technical and semiotic) in which we are always already involved. Such an alternative way of living begins with other storytellings and other perceptions of what surrounds us that we will call « counter-fictions ».

Studien undersöker den fysiska platsen Gamla Linköping där staden Linköping rekonstruerar och bevarar sin kollektiva historia genom de byggnader och de personliga minnen och berättelser som idag tillsammans utgör ett levande museum. Hus och byggnader har flyttats från sina ursprungliga platser runt om i staden och vissa har fått en helt ny funktion i Gamla Linköping. Studien undersöker även personliga minnen och kollektiva berättelser från informanter i Linköping för att besvara de frågeställningar rörande Gamla Linköpings betydelse för staden, varför behovet av rekonstruktion finns och vilken betydelse personliga minnen har för studiens informanter. Slutsatser som dras i studien är att Gamla Linköping berättar om de enskilda människornas vardag och miljö i dennes tid och rum och att rekonstruktion i full skala är ett ypperligt tillfälle att återuppleva och tolka en dåtid. Studien visar även att känslor som glädje, lycka och nostalgi är det som framträder mest när informanter berättar om personliga minnen som aktiveras genom både platser och föremål. / The study examines the physical location of Gamla Linköping where the city of Linköping reconstructs and preserves its collective history through the buildings and the personal memories and stories that today together constitute a living museum. Houses and buildings have been moved from their original locations around the city and some have been given a completely new function in Gamla Linköping. The study also examines personal memories and collective stories from informants in Linköping to answer the questions concerning Gamla Linköping's importance to the city, why the need for reconstruction exists and what importance personal memories have for the study's informants. Conclusions drawn in the study are that Gamla Linköping talks about the everyday life and environment of the individual people in their time and space and that reconstruction on a full scale is an excellent opportunity to relive and interpret a past. The study also shows that emotions such as happiness, joy and nostalgia are what emerges most when informants talks about personal memories that are triggered by both places and objects.

Orientador: Fernando Bastos / Banca: Renato Eugênio da Silva Diniz / Banca: Sandra Regina Teodoro Gatti / Banca: Álvaro Lorencini Júnior / Banca: Graça Aparecida Cicillini / Resumo: A presente pesquisa buscou investigar as reais necessidades formativas dos professores de Ciências e Biologia, com relação ao trabalho em sala de aula sobre os temas recentes da genética como: clonagem, organismos trangênicos, células-tronco e projeto genoma humano. Para isso, foi elaborado um curso de formação continuada, envolvendo tais temas, constituído de dez encontros presenciais e também de discussões online por meio de um blog, no qual foi possível, por meio da análise de atividades, discutir conceitos e propostas para o trabalho em sala de aula. Assim, tanto professores participantes como professor pesquisador puderam avaliar, qualitativamente, a importância de abordar temas polêmicos em sala de aula e os pressupostos e perspectivas para elaboração e condução de atividades de formação que possam contribuir para o trabalho em aula. Por ser um estudo qualitativo, os dados foram descritos e analisados a partir das gravações em áudio das falas dos participantes, e também dos materiais escritos produzidos por ele tanto durante os encontros como na participação via blog. Os resultados apontaram que trabalhos desse tipo precisam, em primeira instância, respeitar as concepções prévias, experiências anteriores e valores dos professores, tomando-os com ponto de partida para a efetivação de um trabalho de formação continuada. Além disso, foi possível verificar que o maior ou menos domínio do conteúdo específico relacionado aos temas recentes da genética, influencia em questões metodológicas durante o processo de ensino e aprendizagem. Foi possível constatar também que, como os participantes revelaram falta de conhecimentos específicos e considerando-se que a genética é uma ciência em constante evolução, iniciativas que visem a formação continuada de professores, envolvendo os avanços científicos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research investigate the real training needs of science and biology teachers in relation to work in the classroom with the recent themes of genetics like cloning, transgenic organisms, stem cells and human genome project. For this, we developed a continuing teacher education course, involving such issues, constituing ten face meeting, online discussions also through a blog, where it was possible that trough analysis of activities, discussion of concepts and proposal for work in classroom, both participating teachers as a research teacher asses, qualitatively, the importance of adressing controversial issues in the classroom and the assumptions and perspectives for developing and conduction training activities that could contribute to the work in class. Being a qualitative study, data were described and analyzed from audio recordings of participants's speech, and also of the written materials produced by them both during the meetings as participation via blog. The results showed that these jobs have in the first instance, to respect the prior knowledge, previous experiences and values of teachers, using them as a starting poinr for the realization of a work of continuing education. Furthermore, we observed that the greater or lesser content domain related to specific topics of recent genetic influences on methodological issues during the process of teaching and learning. As the participants revealed a lack of expertise and considering that genetics is an evolving science, initiatives aimed at the continuous teacher educations... (Complete abstract click electronic access below) / Doutor

O projeto narrativas da luz é uma reflexão a respeito do tempo. A pesquisa tem como escopo o campo da poética e seu olhar está voltado para a fotografia, ou seja, é uma investigação sobre o fenômeno da inscrição do tempo na imagem fotográfica. A proposta era produzir imagens onde, mesmo evidenciando a inscrição do tempo, a aparência de instantâneo fosse - na medida do possível - preservada. O expediente adotado foi utilizar a cor da luz e suas intensidades para da visibilidade à passagem do tempo e, fazer derramar lenta e continuamente essas luzes sobre o espaço. Para alcançar esse resultado foi necessário projetar e construir um dispositivo fotográfico singular que envolve recursos de mecânica, eletrônica, matemática e computação. O resultado é uma série fotográfica - que continua em processo - e alguns desdobramentos que surgiram a partir dessas fotografias. A série resultante é constituída de imagens com 10 metros ou mais de extensão que rompem, de várias maneiras com o paradigma da fotografia. / The project \"narratives of light\" is a reflection on time. The research is scoped to the field of poetry and the gaze is focused on photography, in other words, it is an investigation on the phenomenon of inscription of time in the photographic image. The proposal was to produce images where even showing the inscription of time the snapshot look - as far as possible - would still be there. The expedient adopted was to use the color of light and its intensity to give visibility to the passing time by pouring slowly and continuously these lights over the space. In order to achieve such an outcome it was necessary to design and build a unique photographic device that involves mechanical features, electronics, mathematics and computing. The outcome is a photographic series - which is still in process - and a few unfoldings that emerged from these photographs. The resulting series consists of images with 10 meters or more in length that break, in many different ways, the photography paradigm.

O objeto desta tese são os trabalhos de arte da autora. Eles são agrupados segundo critérios provisórios de identidade, que se constituem e explicitam nas próprias formas dos textos e imagens que os acompanham. Buscam-se elementos comuns, simétricos ou proporcionais nos trabalhos, procedimentos comuns, confluentes ou paralelos, correspondências formais. A abordagem é descritiva. A passagem entre os trabalhos se dá diretamente, sem conexões explicativas, por acareação. Pretende-se construir, na dimensão da linguagem, lugares de coexistência, chãos comuns onde os trabalhos se possam dispor, espaços transitórios que permitam arranjá-los. / The object of this thesis is the author\'s works of art. They are grouped according to contingent criteria of identity, which constitute and explicit themselves in the very forms of texts and adjoining images. The author searches among the works for common, symmetrical or proportional elements, common, confluent or parallel procedures, formal correspondences. The approach is descriptive. The transition between the works is deprived of explanatory connections; they face each other directly, in line-up confrontation. The intention is to build, in the dimension of language, sites of coexistence, common grounds where the works can lay, transitory spaces that allow to arrange them

O presente trabalho se propõe a refletir sobre a Arte Contemporânea como objeto de investigação histórica a partir da análise da obra do artista brasileiro Cildo Meireles (1948-). Para tanto, buscamos situar a produção do artista enquanto evidência histórica tanto do processo de constituição da linguagem artística, quanto do contexto social e político mais amplo no qual emergiu. Ao longo da pesquisa, analisamos os modos pelos quais o artista dialoga com a história, seja por meio da formulação de intervenções diretas na sociedade, seja por meio de reconfigurações das leituras hegemônicas sobre o passado. / The present study aims at reflecting on contemporary art as an object of historical research by analysing the work of the Brazilian artist Cildo Meireles (1948-). Therefore, we seek to situate the production of the artist as historical evidence both of the process of constitution of artistic language and of the broader social and political context in which it emerged. In the course of the research, we have analysed the ways in which the artist establishes a dialogue with history, whether through the development of direct intervention in society or by reconfiguring the hegemonic readings about the past.