日本京都學派的西谷啟治曾表示，對他而言其哲學的根本課題就是「通過虛無主義的虛無主義之超克」。然而，「虛無主義」一詞並非單純只表示某種失去生命中最重要的價值時所產生的「虛無感」；在哲學上它還指向在特定時期，即產生於19世紀歐洲地區的精神危機，以及試圖解答此危機的各種哲學思想。但更重要的問題是：既然虛無主義是歐洲所產生的思想產物，為何會成為身為日本人的西谷啟治的哲學起點？虛無主義與西谷啟治的思想彼此之間的關係是什麼？ 若從外在的動機而論，雖然歐洲虛無主義並非產生於東亞，然而對西谷啟治而言，在日本明治維新之後，盲目追求西化的結果，導致自身的精神與文化的傳統被忽視，逐漸地失去生命力。同時對於西化的嚮往也反過來導致了自我厭惡。如何在這西化的潮流中，回顧自身的傳統，找到自身的定位，同時得到內在的安心，從而迎向未來，就成了西谷對歐洲虛無主義的關注動機。此外，西谷啟治選擇了禪佛教作為他的解答：從禪佛教的立場，重新檢視歐洲虛無主義產生的原因，並且對西方的種種哲學思想提出批判。

This thesis has two purposes: (1) to analyze the emptiness in Blodbok by Christine Falkenland, and (2) to analyze my own reading of the same book. I have chosen to focus on how emptiness is expressed through the body, the language and the place in Blodbok, because of the deep impact these seem to have on the emptiness. The thesis discusses what kind of emptiness that is described, what it does to me as a reader, and how it is connected to other works by Falkenland. Cultural politics of emotions by Sara Ahmed, Uses of literature by Rita Felski and Pouvoirs de l’horreur by Julia Kristeva together form the theoretical framework. Blodbok is a poetry collection, about the loss of a mother. The first part of the thesis shows how emptiness is connected to the borders of the body. When the borders of the body are solid, emptiness is expressed trough the I’s will to pass these borders, to become a part of the mother or at least less lonely. When emptiness surround the I her body becomes indistinct and borderless, which makes the emptiness take place both inside and outside the body. The indistinctness of the body also leads to confusions between the body of the mother and the body of the daughter (the I), which also implies an uncertainness about the limit between life and death. This uncertainness becomes ‘sticky’, and I experience my own body being more borderless than before, and threatened by the death in the same manner as the bodies in the book. Emptiness also takes place as a part of the language in Blodbok, because of its inability to describe the feelings of the I. Though, in what I have called the simple language, for example clichés, the I find a way to express some of the despair, loss and fear that she feels. As a reader I find it very releasing when the I manage to express the emptiness in words. Even if loss is described I feel satisfaction while reading, because I recognize myself in the feelings of the I. I find the text being a witness to a horrible feeling and by functioning as a witness the poem moves the feeling from inside of me, to the outside. The place in Blodbok is connected to emptiness by being the place where life meets death. It is in this place the I circulate, and the emptiness and death is described again and again through the circulation. The place becomes the centre of the book, it is at the same time the beginning and the end. The thesis also shows how the emptiness in Blodbok corresponds to emptiness in other works by Falkenland. The emptiness is Blodbok isn’t empty; it is filled with death, horror, loneliness, love, mourning and loss. This emptiness ‘sticks’ to me as a reader. By picturing an in many ways indescribable emptiness, Blodbok manages to give me a feeling of satisfaction, a feeling of being filled.

This thesis analyses the notion of so-called “Invandrartäta förorter” [“Immigrant-dense suburbs”]. The aim of the study has been to analyse the haunting imagery of the Suburb and the Immigrant as portrayed in the Swedish media. The notion of a fantasy-frame is related to the “Invandrartäta förorten” [“Immigrant-dense suburb”] which is, in the main, a fantasy. Nevertheless, the study shows that the imagery is powerful in its racialised and discriminatory practice. In the first part of the study the main focus is on the media narratives of the suburbs. Illustrations of how the idea of the “Invandrartäta förorten” [“Immigrant-dense suburb”] was created and how this place was, and still is, made to perform Otherness, are described. In the latter part of the study, the interwoven relationship between the fantasy-frame of the suburb and the mediated immigrant-made subject is in focus. Here the focus is on studying the attention and space of appearance that the media imposes on the immigrant-made individual when she or he is presented as representing this space. By taking into account the media's editing techniques in press material, ways of inter­pretation and the recurring themes concerning this space of appearance, the analysis tries to shed light on the conditions of attention for the one who is portrayed in relation to this fantasy space. Such representations mix fear with enticing elements of the exotic. The imagery of the suburban fantasy-frame materialises in the individual portraits and daily life of the people who are depicted in relation to this space. In the final part of the thesis, the notion of mime is used to describe a form of subversive strategy in relation to the imagery that the portrayed is evoked to display.

Tendo como objetivo principal destrinchar o conceito do vazio e a forma como este permeou a produção artística e o pensamento humano ao longo dos tempos, esta pesquisa faz uma incursão por teorias filosóficas desde a Antiguidade Clássica ocidental até conceitos filosóficos e religiosos do Oriente, a fim de compreender como o interesse pela ideia de vazio migrou para a produção artística e, mais do que isso, consolidou-se como um importante fundamento para a Arte Moderna e para a produção contemporânea. Partindo de exemplos e momentos da História da Arte que permitam a compreensão das várias formas como o pensamento artístico incorporou o conceito nas obras de arte, a partir desta primeira busca histórica e conceitual, será feita uma investigação pela produção de artistas visuais cujas trajetórias foram marcadas por ideias de esvaziamento. Num segundo momento, uma análise da 28 Bienal de São Paulo cujo eixo curatorial manteve todo um pavimento vazio durante o período expositivo buscará compreender a forma como a presença do vazio pode se ampliar para além do objeto artístico e se incorporar ao próprio espaço institucional / As its main objective to disentangle the concept of emptiness and how it permeate the artistic production and the human thought over time, this research makes an incursion through philosophical theories from Western Classical Antiquity to Eastern philosophical and religious concepts, aiming to comprehend how the interest around the idea of emptiness migrated into the artistic production and, more than that, became an important foundation for the Modern Art and for the contemporary production. Taking examples and moments in Art History that allow us to understand how the artistic thought incorporated such concept in works of art, from this first historical and conceptual search we'll investigate the production of artists in whose trajectories the idea of emptiness was notorious. On a second moment, from an analysis of the 28th São Paulo Art Biennial - that had a whole floor empty throughout the exhibition period as a curatorial strategy - we'll try to understand the way the presence of the emptiness could expand beyond the artistic object and incorporate the institutional space

Tendo como objetivo principal destrinchar o conceito do vazio e a forma como este permeou a produção artística e o pensamento humano ao longo dos tempos, esta pesquisa faz uma incursão por teorias filosóficas desde a Antiguidade Clássica ocidental até conceitos filosóficos e religiosos do Oriente, a fim de compreender como o interesse pela ideia de vazio migrou para a produção artística e, mais do que isso, consolidou-se como um importante fundamento para a Arte Moderna e para a produção contemporânea. Partindo de exemplos e momentos da História da Arte que permitam a compreensão das várias formas como o pensamento artístico incorporou o conceito nas obras de arte, a partir desta primeira busca histórica e conceitual, será feita uma investigação pela produção de artistas visuais cujas trajetórias foram marcadas por ideias de esvaziamento. Num segundo momento, uma análise da 28 Bienal de São Paulo cujo eixo curatorial manteve todo um pavimento vazio durante o período expositivo buscará compreender a forma como a presença do vazio pode se ampliar para além do objeto artístico e se incorporar ao próprio espaço institucional / As its main objective to disentangle the concept of emptiness and how it permeate the artistic production and the human thought over time, this research makes an incursion through philosophical theories from Western Classical Antiquity to Eastern philosophical and religious concepts, aiming to comprehend how the interest around the idea of emptiness migrated into the artistic production and, more than that, became an important foundation for the Modern Art and for the contemporary production. Taking examples and moments in Art History that allow us to understand how the artistic thought incorporated such concept in works of art, from this first historical and conceptual search we'll investigate the production of artists in whose trajectories the idea of emptiness was notorious. On a second moment, from an analysis of the 28th São Paulo Art Biennial - that had a whole floor empty throughout the exhibition period as a curatorial strategy - we'll try to understand the way the presence of the emptiness could expand beyond the artistic object and incorporate the institutional space

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pele como tinta: o corpo entre gesto e vinco discute o gesto como meio sem finalidade, dentro da ideia de processo artístico, diante da relação envolvendo a prática artística do vídeo e da intervenção com experiências desenvolvidas durante o mestrado na linha de Processos Artísticos Contemporâneos, em trabalhos como Auto-retrato, Tarja, Peles institucionais e Onde fica o Galpão? Dentre os gestos trabalhados está o gesto desterritorializante, no qual a instituição de ensino é convocada como espaço onde suas fronteiras são tratadas como forma de se pensar o fazer artístico, assim como o conceito de instituição. Além desse, outro trabalho proposto é o que relaciona o vídeo e o frame em texturas temporais dinâmicas. O gesto de tinta registrado em vídeo é condicionado a uma volta da pintura fixa da tela. Em Peles a estrutura do vinco é requisitada para compor os afetos e as construções que norteiam a escrita do e no corpo / Skin as ink: the body between crease and gesture discusses the gesture as a purposeless means within the concept of the artistic process, given the relationship of artistic practice involving video and intervention experiments carried out during the author's Masters course in Contemporary Art in works such as Auto-retrato, Tarja,Peles institucionais e Onde fica o Galpão? Among the gestures discussed here is the deterritorializing gesture in which the educationall institution is evoked as a space whose borders are treated as a way of thinking about the artistic process as well as the institution as a concept. Furthermore, the other work proposed here correlates video and frame in dynamic temporal textures. The ink gesture recorded on video is conditioned to a return of the fixed painting on the screen. In Skins, the structure of the crease is required to compose the affects and constructions that guide the writing on and of the body

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pele como tinta: o corpo entre gesto e vinco discute o gesto como meio sem finalidade, dentro da ideia de processo artístico, diante da relação envolvendo a prática artística do vídeo e da intervenção com experiências desenvolvidas durante o mestrado na linha de Processos Artísticos Contemporâneos, em trabalhos como Auto-retrato, Tarja, Peles institucionais e Onde fica o Galpão? Dentre os gestos trabalhados está o gesto desterritorializante, no qual a instituição de ensino é convocada como espaço onde suas fronteiras são tratadas como forma de se pensar o fazer artístico, assim como o conceito de instituição. Além desse, outro trabalho proposto é o que relaciona o vídeo e o frame em texturas temporais dinâmicas. O gesto de tinta registrado em vídeo é condicionado a uma volta da pintura fixa da tela. Em Peles a estrutura do vinco é requisitada para compor os afetos e as construções que norteiam a escrita do e no corpo / Skin as ink: the body between crease and gesture discusses the gesture as a purposeless means within the concept of the artistic process, given the relationship of artistic practice involving video and intervention experiments carried out during the author's Masters course in Contemporary Art in works such as Auto-retrato, Tarja,Peles institucionais e Onde fica o Galpão? Among the gestures discussed here is the deterritorializing gesture in which the educationall institution is evoked as a space whose borders are treated as a way of thinking about the artistic process as well as the institution as a concept. Furthermore, the other work proposed here correlates video and frame in dynamic temporal textures. The ink gesture recorded on video is conditioned to a return of the fixed painting on the screen. In Skins, the structure of the crease is required to compose the affects and constructions that guide the writing on and of the body

Based on precept of sustainable development was elaborated a study about urban´s voids of Sergipe´s capital, brazilian northeast, with the intention to check the social function of Aracaju city. The city´s growth was similar to any other brazilian city: intense, disorderly, resulting into a discontinued mesh. This fact made the city less fair as it pushed the poor to the most peripheral area and without infrastructure, making it underused. The development of the research in 2010 happened through geoprocessing and Plano Director´s parameters. The data necessary to count all empty properties (not built, underused or not used) were given by city hall. From theses elements were generated theme maps. To analysis effect of social function of Aracaju were indispensable calculate, based on Plano Director, the number of people that my live on urban mesh, case these spaces are occupied, observing the infrastructure´ support installed. The data related to infrastructure network were provided by each company and organ responsible for each network. It were verified that the population increment based on densification foreseen at Aracaju´s Plano Director is very high, compromising the city´s infrastructure network and above all one of the most important principle of sustainability, the social function of the city and of the property. / Com base nos preceitos do desenvolvimento sustentável foi elaborado um estudo dos vazios urbanos da capital de Sergipe, nordeste brasileiro, no sentido de verificar o cumprimento da função social do município de Aracaju. O município teve seu crescimento equivalente ao de qualquer cidade brasileira: intenso e desordenado, resultando numa malha descontínua. Tal fato tornou a cidade menos justa na medida em que empurrou os mais pobres para áreas mais periféricas e sem infraestrutura, enquanto há espaços vazios dotados de infraestrutura, tornando-os subutilizados. O desenvolvimento da pesquisa realizada em 2010 deu-se através do geoprocessamento e parâmetros do Plano Diretor. Os dados necessários ao levantamento de todos os imóveis vazios de Aracaju (não edificados, subutilizados ou não utilizados) foram fornecidos pela prefeitura. Desses elementos foram gerados mapas temáticos. Para efeito de análise da função social de Aracaju fez-se imprescindível calcular, segundo o Plano Diretor, o número de pessoas passíveis de viver na malha urbanizada, caso esses espaços sejam ocupados, de forma a verificar a capacidade de suporte da infraestrutura instalada. Os dados relativos às redes de infraestrutura foram fornecidos pelas empresas e órgãos responsáveis por cada rede estudada. Verificou-se que o incremento populacional com base no adensamento previsto no Plano Diretor de Aracaju é muito alto, comprometendo as redes de infraestrutura do município e acima de tudo um dos princípios mais importantes da sustentabilidade, a função social da cidade e da propriedade.

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