This study investigates to what extent the curatorial project of Documenta 11 offered an operative cultural concept beyond multiculturality by favouring a transcultural approach to difference in the global sphere. It questions whether the central strategy employed – of postcoloniality as tactical manoeuvre to expand both the public and aesthetic spheres in order to create the conditions for an ethical engagement with difference – could facilitate a workable exemplar for showing art from different production sites, yet resist levelling of differences for an ever-expanding global art market. Proceeding from the postcolonial institutional critique envisioned by the artistic director, Okwui Enwezor, this study engages critically with the notion of opening-out Documenta in terms of inclusivity and equality of representation. It is argued that while the proposed postcolonial reinvigoration of overlapping public spheres held the promise of heterogeneous participation and minimised the formation of hegemonies, the expansion-project of Documenta 11 could on another level be interpreted to function as a globalising instrument usurping previously unexplored territories and discover marketable ‘others’ for a neocolonial cultural marketplace. Documenta 11 set out to subvert the expansionism of a global art market by constructing the global as postcolonial space in which proximity became the ethical space of engagement. It is the contention of this study that by emphasising the production of locality, the five Platforms localised the global discourse and expressly addressed how inclusivity and pluralism could be approached against the disparities created by globalisation processes. Historically, for artists from the South denial of proximity and coevalness based on colonial conceptions of space and time had meant exclusion from the canon and, where modernist notions persist, being labelled as deficient. In order to breach gaps, de-hegemonise cultural coding and aid transcultural translation, Documenta 11 located its project in its entirety in Homi K. Bhabha’s in-between space, in the gap, as it were. This orientation towards the gap is examined in terms of homelessness, displacement and nomadic subjectivity that impact the archiving logic of Documenta to become anarchival: memory production turned into counter-memory and the work of remembrance was shaped as counter-memorials. Criticised for a skewed commitment to social engagement, rather than aesthetics, the exhibition of Documenta 11 was nonetheless informed by a threshold aesthetic. Different kinds of oppositionality employed by artists, and adversarial approaches reinvigorated by Situationist and Third Cinema strategies put forward by the curators, are evaluated in this regard. An agonistic positioning is explored as, firstly, a counter-localisation to multiculturalism in a transcultural exhibition and, secondly, to resist assimilation and co-optation. It is argued that the embrace of the threshold, of thirdness and littoral curating by Documenta 11 could be considered an exemplar of a global trickster positioning aiming for an expansion of critical visual strategies. The contention of this study is that, having set out to grapple with the construction of multiple public spheres and the space of the transnational exhibition as a creole location, this Documenta at the very least opened up discursive spaces that could expand artistic discourses. At best, Documenta 11 uncovered routes by which difference in the transcultural field could be (re)negotiated. / Thesis (PhD)--University of Pretoria, 2008. / Visual Arts / unrestricted

A presente dissertação versa sobre as disposições da Convenção Internacional sobre os Direitos da Pessoa com Deficiência, com o respectivo Protocolo Facultativo, e do Estatuto da Pessoa com Deficiência, relativas ao instituto jurídico do casamento. O objetivo do trabalho é examinar as alterações promovidas por tais diplomas normativos no ordenamento jurídico brasileiro e avaliar o seu impacto na proteção jurídica desse importante segmento da sociedade. Nessa abordagem, são analisados o tratamento jurídico deferido à pessoa com deficiência em uma perspectiva histórica e a modificação do conceito normativo, bem como a figura da tomada de decisão apoiada e os reflexos da nova disciplina jurídica na curatela, sob o prisma da autonomia e da dignidade da pessoa humana. Na sequência, é examinado o instituto do casamento em seus diversos aspectos, com a proposição de alternativas para o incremento da proteção jurídica da pessoa com deficiência no matrimônio, tendo em vista a insuficiência da ordem jurídica vigente para esse fim. / This dissertion is made with the intent of reviewing the provisions of the International Convention on the Rights of Persons with Disabilities, with its respective Optional Protocol, and of the Statute of Persons with Disabilities concerning the legal institute of marriage. The methodology used is, predominantly, bibliographical research, with the analysis of scientific works and published articles. The objective of the study is to analyze the changes promoted in the marriage and to propose some solutions to the problems encountered during the research. In this approach, the legal treatment accorded to the disabled person in a historical perspective and the alteration of the normative concept, as well as the introduction of the supported decision making institute and the reflexes of the new juridical discipline granted (?) to the curatorship, under the prism of the autonomy and the dignity of human person. Afterwards, the institute of marriage is examined in its various aspects, proposing alternatives to increase the legal protection of persons with disabilities in marriage, due to the insufficiency of the legal system in force for this purpose.

New Genre Public Art was originally defined by Suzanne Lacy in 1991 as an activist approach to the public; it was a type of public art that was often created outside the institutional structure which brought the artist into direct engagement with the audience, while addressing social and political issues. In 1993, the public art exhibition ’Culture in Action’, curated by Mary Jane Jacob, marked a conceptual shift from static to dynamic public art. The exhibition is considered a landmark event in the development of public art as it was among the first projects to frame communities as the structure and content of its art.During the past decade (2010–2020), urban development has become incorporated as an integral part of the work of the Public Art Agency Sweden, and the agency have established their own curatorial department in order to curate and produce their own public art exhibitions. As Public Art Agency Sweden is a State agency, their work is largely determined by official policies formulated by the Swedish government. This thesis analyzes the contemporary policies of urban public art by conducting an interdisciplinary critical discourse analysis that merges art history, curatorial– and urban studies, in order to trace the influence of discourse to how Public Art Agency Sweden has operated within this intersection during the last decade––ultimately to discuss what the Swedish policies on public art strive to achieve and the risks, ethics and responsibilities of the emerging field of urban, context-based curatorship.

[pt] Jan Fabre no Louvre: Um percurso intempestivo pela História da Arte é um estudo sobre a exposição solo do artista belga Jan Fabre realizada no Museu do Louvre no primeiro semestre de 2008. A dissertação pretende analisar não apenas as obras de Jan Fabre que foram expostas na ocasião, mas também a relação destas obras com aquelas do acervo permanente do Louvre com a qual a exposição de Fabre divide o espaço: a pintura setentrional europeia dos séculos XV ao XVII. Além disso, a presente pesquisa faz uma tentativa de analisar a política do Louvre em favor da arte contemporânea, a noção de curadoria implicada neste programa e algumas questões sobre a história da arte que a exposição propõe. / [en] Jan Fabre at the Louvre: An Intempestive Course Through Art History is a study on the Belgian artist s Jan Fabre solo exhibition that took place at the Louvre Museum in the first semester of 2008. This dissertation intends to analyze not only Jan Fabre s works exposed in the occasion, but also the relationship of these works with those of the permanent collection of the Louvre with which the exhibition of Fabre shares the space: Northern European Painting of the 15th to the 17th centuries. Besides, this research attempts to analyze the politics of the Louvre in favor of contemporary art, the notion of curatorship implicated in this agenda and some questions on Art History proposed by the exhibition.

O presente estudo tem como objetivo central o estabelecimento de um quadro referencial que possa contribuir para uma metodologia para gestão de acervos museológicos de uma tipologia específica aqui determinada - os utensílios domésticos industrializados e pré-elétricos. Compreendemos que a relevância desta tipologia de objetos está no papel que exerceu no processo de modernização e racionalização do espaço doméstico que culminará na eletrificação das residências ao longo do século XX. Sendo assim, traçamos aqui um panorama dos ciclos de vida destes produtos em seu contexto original de fabricação e consumo - através da investigação da publicidade que circulava em São Paulo na virada para o século XX - e sua posterior incorporação a instituições museológicas. Tendo como hipótese que a incorporação destes utensílios a acervos de museus históricos configure uma tendência relacionada às mudanças conceituais e metodológicas que ocorrem nos campos da História e da Museologia ao longo da segunda metade do século XX, nos debruçamos sobre coleções do Museu Paulista e do Museu da Casa Brasileira, propondo uma análise da historicidade destas coleções, assim como dos parâmetros curatoriais a eles empregados, buscando então elencar as possibilidades de desenvolvimento e pesquisa dentro dos processos de curadoria desta tipologia de objetos em museus com vocação histórica. / The present study is aimed at building a referential framework that may contribute to the establishment of collections management methodologies concerning a specific category of objects - pre-electrical household utensils and appliances of industrial manufacture. The relevance of such objects lies in the role they played in a process of modernization and rationalization of the household which would culminate in the spread of electrical power for residential use throughout the 20th century. Thus, we present an outlook of the life cycles these products took part in, whether in the context of their production and mass consumption in the turn-of-the-century São Paulo - for which we investigate the advertisements published in this period - whether in the context of their posterior accessioning by museums. On the assumption that the acquisition of such objects by History museums reveals a trend linked to conceptual and methodological transformations that guide the fields of History and Museum Studies throughout the second half of the 20th century, we look into the collections of Museu Paulista and Museu da Casa Brasileira, analysing the history of these collections as well as the curatorial process they were subject to, aiming at the possibilities for research and development of this category of objects within the curatorial process of History museums.

O presente estudo tem como objetivo central o estabelecimento de um quadro referencial que possa contribuir para uma metodologia para gestão de acervos museológicos de uma tipologia específica aqui determinada - os utensílios domésticos industrializados e pré-elétricos. Compreendemos que a relevância desta tipologia de objetos está no papel que exerceu no processo de modernização e racionalização do espaço doméstico que culminará na eletrificação das residências ao longo do século XX. Sendo assim, traçamos aqui um panorama dos ciclos de vida destes produtos em seu contexto original de fabricação e consumo - através da investigação da publicidade que circulava em São Paulo na virada para o século XX - e sua posterior incorporação a instituições museológicas. Tendo como hipótese que a incorporação destes utensílios a acervos de museus históricos configure uma tendência relacionada às mudanças conceituais e metodológicas que ocorrem nos campos da História e da Museologia ao longo da segunda metade do século XX, nos debruçamos sobre coleções do Museu Paulista e do Museu da Casa Brasileira, propondo uma análise da historicidade destas coleções, assim como dos parâmetros curatoriais a eles empregados, buscando então elencar as possibilidades de desenvolvimento e pesquisa dentro dos processos de curadoria desta tipologia de objetos em museus com vocação histórica. / The present study is aimed at building a referential framework that may contribute to the establishment of collections management methodologies concerning a specific category of objects - pre-electrical household utensils and appliances of industrial manufacture. The relevance of such objects lies in the role they played in a process of modernization and rationalization of the household which would culminate in the spread of electrical power for residential use throughout the 20th century. Thus, we present an outlook of the life cycles these products took part in, whether in the context of their production and mass consumption in the turn-of-the-century São Paulo - for which we investigate the advertisements published in this period - whether in the context of their posterior accessioning by museums. On the assumption that the acquisition of such objects by History museums reveals a trend linked to conceptual and methodological transformations that guide the fields of History and Museum Studies throughout the second half of the 20th century, we look into the collections of Museu Paulista and Museu da Casa Brasileira, analysing the history of these collections as well as the curatorial process they were subject to, aiming at the possibilities for research and development of this category of objects within the curatorial process of History museums.

Introduction: This thesis investigates the relationships that curators have with the collections they oversee. The aim of the study is to learn how this relationship shapes the curators, the objects, and the storeroom itself. An additional purpose is to see whether this relationship creates and maintains a hierarchy of objects in the storerooms. Method: Eight semi-structured interviews were conducted with curators working in Sweden at Nationalmuseum of Sweden, Army Museum, Swedish Museum of Performing Arts, Museum Gustavianum, The Museum of Evolution, The Jewish Museum and Skansen. The interviews were tape recorded and the transcripts composed the data for the analysis. Analysis: A qualitative content analysis was carried out on the data. Object-love and material punctum were used as the study’s theoretical and analytical framework. Including three concepts defined by the author as formal-, informal-, and personal- object hierarchies. Results: Personal and emotional relationships to the collections did exist. They were intertwined with the professional relationship and formed a unique love called object-love. A love that defined and regulated both the personal and professional sides of the relationship. A combination of knowledge, intimacy, interest, and time were key factors for the formation of an emotional bond to the objects. The personal relationships further helped create personal and informal object hierarchies in the storerooms but were not exclusively responsible for them. Other factors such as formal object hierarchies and old hierarchical systems contributed to their existence. Conclusion: Object-love is a vital part of a successful curatorship, as it drives the curators to do a good job and go the extra mile. Since prioritization is a big part of the curator’s everyday work, informal and personal object hierarchies become a necessity in the storerooms. Because of object-love these hierarchies fall in line with the museums broader mission. This is a two years master's thesis in museum and heritage studies

[pt] No contexto de uma sociedade digital emergem abordagens educativas mediadas pelas tecnologias digitais que visam respeitar o tempo, o ritmo e a forma de aprendizagem de cada aluno individualmente. As principais ideias embutidas na lógica das aprendizagens híbrida e adaptativa – autonomia, protagonismo do aluno, personalização do ensino, acompanhamento e avaliação contínua da aprendizagem – não são novas e também estão presentes na educação tradicional exclusivamente presencial. A principal diferença reside no fato de reconhecer na tecnologia o potencial de expansão das formas e lugares de aprendizagem dos alunos, oportunizando uma via paralela e integradora, não substitutiva e nem tampouco de caráter simplesmente complementar ao ensino presencial, para alcance dos objetivos de aprendizagem. O objetivo geral desta investigação é apresentar a concepção, operacionalização e implicações de duas abordagens educativas mediadas pelas tecnologias digitais, a aprendizagem híbrida e a aprendizagem adaptativa. A tese foi estruturada no formato multipaper contendo três estudos independentes que resguardam unidade temática e alinhamento teórico, mantendo assim uma inter-relação. A adoção de um modelo alternativo para a escrita da tese de doutorado responde a demanda do objeto de investigação, que é plural, de caráter difuso e multifacetado. O primeiro estudo, uma revisão sistemática da literatura a partir da produção acadêmica na área de Informática na Educação, buscou identificar as concepções e características de modelos híbridos e adaptativos que objetivam a personalização da aprendizagem. O segundo estudo é o relato de uma experiência de formação online destinada a professores que procurou explorar os conceitos de aprendizagem híbrida e adaptativa, assim como mobilizar mecanismos para sua operacionalização. O terceiro estudo pretendeu verificar, a partir da percepção de professores das licenciaturas e da análise dos currículos de seus cursos, se a formação inicial de professores está alinhada às abordagens educativas emergentes supracitadas, assim como seu entrelaçamento com as políticas públicas educacionais, específicas e complementares, que visam a promoção da incorporação das tecnologias digitais à educação. Compõe também este trabalho uma introdução, onde é apresentado o enquadramento teórico-conceitual transversal aos três estudos, assim como uma síntese conclusiva, onde se apresenta uma discussão integrada dos resultados. Os resultados da pesquisa mostram a necessidade de maior interlocução entre os profissionais das áreas de Informática e Educação no desenvolvimento de ambientes e sistemas que suportem a aprendizagem híbrida e adaptativa, o que implica na realização de mais pesquisas de caráter experimental e, principalmente, na reconfiguração da formação docente, inicial e continuada, no sentido de preparar efetivamente os professores para exercerem seu papel, que já não é mais de transmissores do conhecimento, mas de mediadores no processo de aprendizagem, ressignificando seu modus operandi com base em uma tríade de princípios norteadores: design, curadoria, e orientação. / [en] In the digital society emerge educational approaches mediated by digital technologies that aim to respect the time, pace and form of learning of each student individually. The main ideas embedded in the logic of blended and adaptive learning - autonomy, student protagonism, customization, monitoring and continuous evaluation of learning - are not new and are also present in traditional classroom-based education. The main difference lies in the fact of recognizing in technology the potential of expanding the forms and places of learning, providing a parallel and integrative way, not substitutive and not simply complementary to face-to-face teaching, in order to achieve learning objectives. The general objective of this research is to present the conception, operationalization and implications of two educational approaches mediated by digital technologies, blended learning and adaptive learning. The thesis was structured in the multipaper format containing three independent studies that safeguard thematic unit and theoretical alignment, thus maintaining an interrelation. The adoption of an alternative model for writing the thesis responds to the demand for the research object, which is plural, diffuse and multifaceted. The first study, a systematic survey of the literature from the academic production in the area of Informatics in Education, sought to identify the conceptions and characteristics of hybrid and adaptive models that aim at personalization of learning. The second study is the report of an online training experience for teachers that sought to explore the concepts of blended and adaptive learning, as well as to mobilize mechanisms for its operationalization. The third study aimed to verify, from the teachers perception of the degree programs and the curriculum analysis of their courses, if the initial teacher training is in line with the emerging educational approaches mentioned above, as well as their intertwining with specific and complementary public educational policies, which aim to promote the incorporation of digital technologies into education. This work has also an introduction, where the theoretical and conceptual framework of the three studies is presented, as well as a conclusive synthesis, presenting an integrated discussion of the results. The research results show the need for greater interaction between professionals in the areas of Informatics and Education in the development of environments and systems that support personalized learning, which implies in the accomplishment of more experimental research and, mainly, in the reconfiguration of the teacher training in order to effectively prepare teachers to play their role, which is no longer a transmitter of knowledge but a mediator in the learning process, re-signifying its modus operandi based on the principles of curatorship, design and orientation.

[pt] Este trabalho discute a ascensão do cinema digital e o papel da curadoria na programação e seleção de curtas-metragens brasileiros contemporâneos em três festivais de cinema: Cine PE - Festival do Audiovisual, Festival de Brasília do Cinema Brasileiro e na Mostra de Cinema de Tiradentes. O recorte temporal se dá entre os anos de 2017 e 2021 por conta do encontro entre uma progressiva popularização ao acesso dos sensores digitais e a imersão do Brasil em uma severa e polarizante crise político-social. O trabalho retoma e analisa a noção de aura, tal como proposta por Walter Benjamin em seu ensaio A obra de arte na era de sua reprodutibilidade técnica; retoma igualmente a ideia de programação e curadoria como formas de pós-produção, tal como proposta por Thomas Elsaesser. Um dos objetivos é analisar a mudança de cenário - favorecida pela entrada da tecnologia do digital - onde o curta-metragem brasileiro passa a ter um valor simbólico e cultural gradativamente mais significativo. Os três festivais de cinema, já citados, foram escolhidos porque suas curadorias ou condições de acontecimento sofreram grandes reviravoltas em função dos diferentes contextos político-sociais do país. Por fim, interessa discutir o papel da curadoria e dos festivais dentro do processo de legitimação histórica e artística de filmes assim como a relação entre os realizadores e a construção de um imaginário sobre o cinema nacional / [en] This study discusses the rise of digital cinema and the role of curatorship in the programming and selection of contemporary Brazilian short films in three film festivals: Cine PE - Festival do Audiovisual, Festival de Brasília do Cinema Brasileiro and Mostra de Cinema de Tiradentes. The time frame takes place between the years 2017 and 2021 due to the encounter between a progressive popularization of access to digital sensors with the immersion of Brazil in a severe and polarizing political-social crisis. The study resumes and analyzes the notion of aura, as proposed by Walter Benjamin in his essay The Work of Art in the Age of Mechanical Reproduction; and it also takes up the idea of programming and curation as forms of post-production, as proposed by Thomas Elsaesser. One of the objectives is to analyze the change in scenario - favored by the entry of digital technology - where the Brazilian short film starts to have a gradually more significant symbolic and cultural value. The three aforementioned film festivals were chosen because their curatorship or event conditions underwent major upheavals due to the different political and social contexts in the country. Lastly, it is relevant for the study to discuss the role of curatorship and festivals within the process of historical and artistic legitimation of films as well as the relationship between filmmakers and the construction of an imaginary about national cinema.