This dissertation investigates the interrelation between information structure and discourse structure. Information-structurally backgrounded material is here generally treated as being anaphoric in a very strict sense. It is argued that, apart from having more descriptive content, elements from the sentence background are not different from other types of anaphora: they are subject to the same locality restrictions and they must correspond to the same semantic types. The treatment of the sentence background as a monolithic and atomic unit is refuted. Instead it is argued that sentence backgrounds may be built up from smaller units which are linguistically realise as links and tails (in the sense of Vallduví, 1992). It is shown that links and tails play different roles with respect to the structure of discourse: linguistically realised links have to be bound by a discourse topic, while tails have to be bound by other salient referents within the discourse environment. / Este trabajo investiga la interrelación entre la estructura informativa y la estructura del discurso. El material del trasfondo lingüístico (background) de la oración se trata como una serie de elementos anafóricos en sentido estricto. Aunque tengan más contenido descriptivo, comparten las mismas características con otros tipos de anáfora en términos de restricciones de localidad y del tipo semántico. Se rechaza un tratamiento del background de la oración como una unidad atómica. En este trabajo se argumenta que el background se puede construir a partir de elementos más fundamentales, llamados links y tails (siguiendo Vallduví, 1992). Links y tails juegan un papel muy distinto con respecto a la estructura del discurso: los constituyentes realizados como links tienen que estar ligados por un tópico discursivo, mientras que los constituyentes realizados como tails necesitan estar ligados por otros referentes discursivos que estén salientes en el entorno del discurso.

La thèse porte sur le work in progress de Raoul Hausmann, "Hylé", dont la genèse exceptionnelle s'étend sur plus de 30 ans (1926-58). "Hylé I" (inédit) et "Hylé II" (2006) traitent des années 1926-33 (Allemagne) et 1933-36 (Ibiza) de la vie de Hausmann. Ces ensembles textuels, qui résultent tous deux du montage d'une centaine d'unités textuelles, transcendent les appartenances génériques au profit d'une identité transgénérique, plurielle et mobile. Au regard du rôle majeur de Hausmann dans le mouvement Dada à Berlin, tant sur le plan théorique que par sa production plastique et poétique, le présent travail pose la question de la continuation d'un projet d'avant-garde dans "Hylé". L'exploration des relations intermédiales entre Hylé et le photomontage, la poésie visuelle et la photographie – formes d'expression investies par Hausmann pendant ou après Dada – permet d'éclairer la permanence de son projet utopique d'une augmentation de la perception sensorielle humaine. L'analyse comparée de "Hylé I" et "Hylé II" s'appuie sur la reconstruction de la genèse du texte à partir des deux grands fonds d'archives français et allemand. Elle montre d'abord, au niveau macrostructurel, que le montage crée un mode de cohérence spatial et dynamique qui concurrence celui de la linéarité narrative, soutenu en cela dans "Hylé II" par une véritable poétique de l'espace. Elle fait ensuite ressortir l'ambivalence d'une entreprise autobiographique qui se forme au cours de la genèse et oscille entre la constitution rétrospective du moi et sa dissolution (ou sa fragmentation). Enfin, elle s'attache à l'expérimentation langagière conçue comme le projet utopique de mettre en mouvement les limites rigides imposées à notre connaissance par le langage, projet qui culmine dans l'écriture multilingue de l'exil dans "Hylé II". / This thesis discusses Raoul Hausmann's work in progress, Hyle, whose genesis lasted over 30 years (1926-1958). "Hyle I" (unpublished) and "Hyle II" (2006) both have strong autobiographical character and deal with the years 1926-33 (Germany) and 1933-36 (Ibiza). Each consists of approximately a hundred units combined together into a textual ensemble, which goes beyond traditional genre classifications and produce a transgeneric, plural and mobile textual identity. Taking into account Hausmann's crucial importance in Berlin Dada both on the theoretical field and for his artistic and poetical production, this thesis looks into the question of the continuation of an avant-garde project within "Hyle". In order to understand what remains of Hausmann's utopian project of an enlargement of human perception, it is most helpful to explore the intermedial relations between the work in progress and Hausmann's practice of photomontage, visual poetry and photography. The comparative analysis of "Hyle I" and "Hyle II" is based on an extensive genetic enquiry using the two principal Hausmann archives in Germany and France. It first focusses on the macrostructural level and highlights how the technique of textual montage creates a spatial and dynamic coherence mode, which is conflicting with that of narrative linearity – this being supported in "Hyle II" by a comprehensive poetics of space. The analysis then sheds some light on the ambiguity of an autobiographical project which forms itself in the course of the genesis and oscillates between retrospective subject constitution and subject fragmentation or dissolution. It finally analyses the language experiment in Hyle as a utopian attempt to shift the verbal bondaries which limit our understanding – culminating in "Hyle II" with the multilingual writing influenced by the exile years. / Die Dissertation untersucht Raoul Hausmanns Work-in-progress "Hyle" unter Berücksichtigung seiner mehr als 30 Jahre umfassenden Textgenese (1926-1958). "Hyle I" (unveröffentlicht) und "Hyle II" (2006) handeln von Hausmanns Leben in den Jahren 1926-33 (Deutschland) und 1933-36 (Ibiza). Diese jeweils aus ca. 100 zusammenmontierten Einheiten bestehenden Textensembles gehen über traditionelle Gattungszugehörigkeit hinaus zugunsten einer transgenerischen, pluralen und beweglichen Identität. Ausgehend von Hausmanns wesentlicher Rolle in Dada-Berlin – im theoretischen wie im künstlerischen und poetischen Bereich – wird in dieser Arbeit der Frage nach der Fortschreibung eines Avantgarde-Projekts in "Hyle" nachgegangen. Das vielfach intermediale Verhältnis des Schreibprojekts zu den Ausdrucksformen der Fotomontage, der visuellen Poesie und der Fotografie wird herausgearbeitet und in Beziehung zu Hausmanns utopischem Projekt einer Erweiterung der menschlichen Wahrnehmung gesetzt. Die vergleichende Analyse von "Hyle I" und "II" erfolgt anhand einer fundierten, sich auf den beiden Haupt-Nachlässen in Deutschland und Frankreich stützenden Rekonstruktion der Textgenese. Sie zeigt zuerst auf makrostruktureller Ebene, wie die Text-Montage einen räumlich-dynamischen, im Spannungsfeld mit einem linear-narrativen stehenden Kohärenzmodus stiftet, und wie sich dies zudem in "Hyle II" in einer umfassende Raumpoetik artikuliert. Die Analyse hebt dann das Ambivalente eines autobiographischen Unternehmens hervor, das sich erst im Laufe der Genese entwickelt und zwischen retrospektiver Ich-Konstitution und Subjekt-Auflösung bzw. -Fragmentierung oszilliert. Sie befasst sich schließlich mit dem Sprachexperiment als einem utopischen Projekt, das den starren, unsere Erkenntnis beschränkenden Grenzen der Sprache erneut Beweglichkeit zu verleihen sucht – und im mehrsprachigen, durch Exil-Erfahrung geprägten Schreiben in "Hyle II" seinen Höhepunkt erreicht.

This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.

Durante meu mestrado selecionei textos específicos de Marcel Duchamp: textos teóricos nos quais ele reflete sobre o mundo das artes. São palestras que ele deu em universidades, cartas e catálogos para as exposições que ele organizava cujos textos são dele. Este material é fundamental para entender como este artista tão radical entendia a arte e como se esforçava para propagar suas concepções. São temas surpreendentes porque Duchamp teve um importante papel na apresentação da arte européia aos Estados Unidos trabalhando como curador durante um bom período. É impressionante vê-lo apresentando Picasso, Calder ou Matisse. Ou então defendendo os motivos pelos quais todo artista deve cursar uma universidade. São textos que todo estudante de arte deveria ler. Ou melhor, todos que gostam ou trabalham com arte... Este material foi selecionado e traduzido a partir dos originais em inglês e francês que estão nos livros Duchamp du Signe - écrits (Paris, Flammarion, 1975) e The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989) , organizados por Michel Sanouillet com a colaboração de Elmer Peterson (ambos contém os mesmos textos, um em inglês e outro em francês). É uma seleção que cobre de 25 a 30% do total destes livros. Deixei fora do meu recorte todas as notas que fazem parte das próprias obras de Duchamp e têm um caráter poético intenso, recorrendo frequentemente a sofisticados trocadilhos dignos de uma tradução pelos irmãos Campos. Além da tradução dos textos teóricos, meu trabalho têm mais duas partes. Um posfácio, no qual faço uma leitura das obras de Duchamp iluminada exclusivamente pelos textos que estão traduzidos na primeira parte e um Apêndice - que é a parte que mais gosto. Este apêndice é uma brincadeira com Duchamp. Proponho um Ready-made para definir um perfil de sua obra recortando dos textos que ele escreveu sobre outros artistas apenas as caracteríscas que estão fortemente presentes no próprio trabalho dele. Como apontaram na minha banca, é quase uma leitura de revelação psicanalítica ao indicar como vemos nos outros aquilo que temos em nós. / This work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.

Este trabalho apresenta uma proposta de publicação de dados de execução do orçamento público em acordo com a legislação brasileira. A partir das leis e da revisão da literatura foram levantados requisitos que devem ser considerados numa publicação de dados que seja processável por máquina. São apresentadas dimensões de dados como qualidade de dados, metadados e taxonomia, além das abordagens Dados Governamentais Abertos e Linked Data. A proposta de publicação resultante além de alinhada com os requisitos estudados prevê processamento por máquina em três níveis: tratamento de dados, validação de dados e colecionamento de conjuntos de dados. Com as tecnologias selecionadas, como XBRL e XSLT, alcançou-se um modelo que atendeu cartorze requisitos levantados, abrindo caminho para estudos como a de uma rede de conjuntos de dados baseada nesta proposta. / This paper presents a proposal for publishing public budget data in accordance with Brazilian law. From the laws have raised requirements that must be considered in the publication data format that is machine-processable. From the literature review were also raised requirements that are part of the proposed publication of this work, such as controlled vocabularies, metadata and taxonomy. Two approaches of open data were also considered in the preparation of the publication format: Open Government Data and Linked Data. The proposed publication resulting from this work, that use technologies like XBRL and XSLT, is aligned with the raised requirements provides three levels of machine-processing: data processing, data validation and collecting datasets.

Este trabalho apresenta uma proposta de publicação de dados de execução do orçamento público em acordo com a legislação brasileira. A partir das leis e da revisão da literatura foram levantados requisitos que devem ser considerados numa publicação de dados que seja processável por máquina. São apresentadas dimensões de dados como qualidade de dados, metadados e taxonomia, além das abordagens Dados Governamentais Abertos e Linked Data. A proposta de publicação resultante além de alinhada com os requisitos estudados prevê processamento por máquina em três níveis: tratamento de dados, validação de dados e colecionamento de conjuntos de dados. Com as tecnologias selecionadas, como XBRL e XSLT, alcançou-se um modelo que atendeu cartorze requisitos levantados, abrindo caminho para estudos como a de uma rede de conjuntos de dados baseada nesta proposta. / This paper presents a proposal for publishing public budget data in accordance with Brazilian law. From the laws have raised requirements that must be considered in the publication data format that is machine-processable. From the literature review were also raised requirements that are part of the proposed publication of this work, such as controlled vocabularies, metadata and taxonomy. Two approaches of open data were also considered in the preparation of the publication format: Open Government Data and Linked Data. The proposed publication resulting from this work, that use technologies like XBRL and XSLT, is aligned with the raised requirements provides three levels of machine-processing: data processing, data validation and collecting datasets.

Durante meu mestrado selecionei textos específicos de Marcel Duchamp: textos teóricos nos quais ele reflete sobre o mundo das artes. São palestras que ele deu em universidades, cartas e catálogos para as exposições que ele organizava cujos textos são dele. Este material é fundamental para entender como este artista tão radical entendia a arte e como se esforçava para propagar suas concepções. São temas surpreendentes porque Duchamp teve um importante papel na apresentação da arte européia aos Estados Unidos trabalhando como curador durante um bom período. É impressionante vê-lo apresentando Picasso, Calder ou Matisse. Ou então defendendo os motivos pelos quais todo artista deve cursar uma universidade. São textos que todo estudante de arte deveria ler. Ou melhor, todos que gostam ou trabalham com arte... Este material foi selecionado e traduzido a partir dos originais em inglês e francês que estão nos livros Duchamp du Signe - écrits (Paris, Flammarion, 1975) e The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989) , organizados por Michel Sanouillet com a colaboração de Elmer Peterson (ambos contém os mesmos textos, um em inglês e outro em francês). É uma seleção que cobre de 25 a 30% do total destes livros. Deixei fora do meu recorte todas as notas que fazem parte das próprias obras de Duchamp e têm um caráter poético intenso, recorrendo frequentemente a sofisticados trocadilhos dignos de uma tradução pelos irmãos Campos. Além da tradução dos textos teóricos, meu trabalho têm mais duas partes. Um posfácio, no qual faço uma leitura das obras de Duchamp iluminada exclusivamente pelos textos que estão traduzidos na primeira parte e um Apêndice - que é a parte que mais gosto. Este apêndice é uma brincadeira com Duchamp. Proponho um Ready-made para definir um perfil de sua obra recortando dos textos que ele escreveu sobre outros artistas apenas as caracteríscas que estão fortemente presentes no próprio trabalho dele. Como apontaram na minha banca, é quase uma leitura de revelação psicanalítica ao indicar como vemos nos outros aquilo que temos em nós. / This work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.

<p>Splatterpunk was a short-lived, but explosive horror literary movement birthed in the 1980’s that utilized graphic depictions of violence in its prose. Drawing parallels to other subversive and radical art movements like Dada and Hardcore Punk, this paper examines through a Marxist lens how Splatterpunk, influenced by the destructive nature of 1980’s neoliberalism, reflected the violence, categorized as direct and structural, of its period of creation and used extreme vulgarity as an act of rebellion against traditional horror canon.</p>

Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sélectionner et de générer du contenu musical grâce à un ensemble d'interfaces graphiques manifestant une approche exploratoire à la composition. Ses modules abordent, entre autre, la visualisation de bases de données, la segmentation et l'analyse des partitions, la synthèse concaténative, la génération musicale à travers la modélisation physique ou géométrique, la synthèse "wave-terrain", l'exploration de graphes, les automates cellulaires, l'intelligence distribuée et les jeux vidéo. Pour terminer, cette thèse traite de la question de savoir si la représentation classique de la musique, démêlée dans l'ensemble standard des paramètres traditionnels, est optimale. Deux alternatives possibles aux décompositions orthogonales sont présentées : des représentations de partitions fondées sur les "grains", qui héritent les techniques de la composition basée sur corpus, et des modèles d'apprentissage automatique non supervisés, fournissant représentations de la musique "agnostiques". La thèse détaille aussi ma première expérience d'écriture collaborative au sein du collectif /nu/thing. / The reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective.

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