Ce travail de doctorat s'attache à montrer comment le quotidien, notion dont la naissance est moderne, s'invente et se pense comme objet conceptuel à partir des travaux d'Henri Lefebvre el plus tard de Michel de Certeau. L'investigation du quotidien s'effectue à la croisée de l'art et des sciences humaines et sociales et fait de la question, paradoxale, d'une vie quotidienne créative un enjeu théorique et politique pour la pensée critique comme pour les pratiques artistiques des années 1960 à 1980. En expliquant comment le quotidien, d'objet conceptuel, devient un projet, la thèse éclaire les pratiques non-art de Robert Filliou, d'Allan Kaprow et des artistes Fluxus. C'est dans les écrits d'artistes 'lut' se lit leur geste paradoxal d'affirmation et de négation de l'art qui invite à inscrire les pratiques créatives dans la vit' quotidienne, plutôt que de faire entrer celles-ci au musée. Il s'agit de mettre en évidence ces démarches qui se détournent des institutions artistiques pour investir le quotidien comme le lieu de l'émancipation. La thèse se penche dans le même temps sur l'étude de pratiques d'écriture qui relèvent de ce projet, en expliquant comme Perec et Spoerri mettent en place des configurations discursives permettant de faire l'inventaire poétique d'un quotidien partageable. L'anecdote enfin, dont use Kaprow, interroge les pratiques quotidiennes par leur mise en récit, dans une visée épistémique qui distingue les poïétiques du quotidien des processus d'esthétisation de l'ordinaire par l'art. / Designed as an interdisciplinary study of artistic and theoretical sources, this work addresses the construct of the everyday [quotidien], a key notion for modernity, specifically in Henri Lefebvre’s and later Michel de Certeau's writings from the 1960s to the early 1980s. The dissertation argues that the investigation or the everyday, which led to its conceptualization, is done at the crossroads of social sciences and art. It brings about the paradoxical question of a creative life, which is a theoretical and political concern for critical thinking and for the period's artistic practices, By explaining how the everyday, once a conceptual notion, becomes a project, the work sheds light on the non-art practices of Allan Kaprow, Robert Filliou and Fluxus. It contends that the everyday is paired with the notion of non-art, to which these artists resort to describe their own work. ln their writings and practices, they invite to inscribe creative practices in evervday life, rather than place them within the institutions of the art world, This thesis also draws on an analvsis or the writing or the everyday, by explaining how Georges Perec and Daniel Spoerri elaborate discursive practices which allow them to create a poetic inventory of a collective memory. Finally, the anecdote, of which Allan Kaprow makes use, questions the practices or the everyday by turning them into narratives. These sources raise a philosophical question pertaining to the epistemical value of art and literature that distinguishes the poietics or the everyday from processes that aestheticize the ordinary.

No description available.

The starting point for this paper is Jerrold Levinson's taxonomy of perceptual beauty. Despite the ambiguity of the concept, we think we can recognize beauty in different shapes and contexts, which suggests that the different manifestations of beauty have a common feature or a common underlying nature. My claims are 1) that there are good reasons to believe that there are different species of beauty, 2) that everyday scenes can accommodate real cases of beauty that Levinson does not capture in his framework, and 3) that the essay's examples of an everyday scene - Laura and the clothesline - do not fit into Levinson's seven main categories. The conclusion is that we need a new category to accommodate this instance of prosaic beauty. The multiplicity of beauty is greater than we usually assume and that says something about the importance of beauty in human life.

This doctoral dissertation investigates the impact of incidental aesthetics on consumer perceptions. The author refers to incidental aesthetics in two dimensions. One is in the aesthetic properties of product context that is not directly related to its functional performance. And second is in the aesthetic attributes found in unexpected sources defined as ordinary objects, places, and people. Drawing on theories from aesthetics, psychology, and consumer behavior, this dissertation examines in two manuscripts how and why incidental aesthetics influence consumer evaluations. The first paper, 'Welded Together: How Responses to Incidental, Nondiagnostic Sensory Context (Mis)Guide Simultaneous Product Evaluations,' studies how evaluations of incidental aesthetics from a sensory experience with nondiagnostic product contextual cues are merged with the evaluations of the target product. The second paper, 'Consumer Attentiveness to Beauty in the Ordinary,' examines an understudied dimension of beauty. The construct of attentiveness to beauty in the ordinary is defined as the degree to which individuals mindfully identify and formulate an aesthetic judgment of common visual elements and integrate this mindset into their daily experiences. The authors develop a four-item Attentiveness to Beauty in the Ordinary Scale to measure the construct. Using a mixed-methods approach, combining a series of laboratory experiments and field studies from a diverse sample of consumers (Npaper1 = 49,435; Npaper2 = 2,051), the authors show in the first paper that unappealing (appealing) incidental sensory experiences lead to lower (higher) product evaluations, including perceived quality and purchase intention. The effect emerges when the incidental evaluation pertains to a dimension closely related to the product dimension being evaluated. In the second paper, the findings provide evidence of validity and reliability of the Attentiveness to Beauty in the Ordinary Scale, situate the scale in a network of related constructs such as appreciation of beauty, engagement with beauty, dispositional awe, voluntary simplicity, materialism, mindfulness, and subjective happiness, and demonstrate the predictive value of the scale for consumer perceptions and behavior. Specifically, people high (vs. low) in ordinary beauty attentiveness are less discriminating in aesthetic evaluations of ordinary elements, find higher product quality in naturally-aesthetic packaging, are less persuaded by endorsers' attractiveness, and are more likely to buy imperfect produce. This dissertation contributes to the literature on aesthetics and sensory marketing by revealing that aesthetic experiences that are not intentionally designed or not expected but naturally occur in consumption environments have a significant impact on consumer evaluations. The results have practical implications for marketers and designers, who can leverage the power of incidental aesthetics in marketing strategies to enhance product perceptions. / Doctor of Philosophy / This dissertation explores, across two papers, how natural aesthetic qualities found in things, people, places, or in product contexts, referred to as incidental aesthetics, can influence our perceptions and evaluations of products. In the first paper, the authors find a novel effect in which consumers "merge" aesthetic evaluations of incidental product context that do not affect the functionality of the product (e.g., bad/good music on headphones) with product evaluations they make at the same time (e.g., bad/good quality headphones). This effect occurs because people spontaneously mix the evaluation of the context (e.g., music sound) with the evaluation of a closely related product attribute (e.g., sound quality). In the second paper, the authors define attentiveness to beauty in the ordinary as a disposition that some people have of being more open to finding beauty when it is not expected (i.e., incidental aesthetics) and therefore seeing beauty more frequently in everyday situations than other people. The authors create a scale to measure this individual disposition and find that 1) people with high (vs. low) attentiveness to ordinary beauty see less of a difference in the beauty of elements high and low in aesthetics, 2) find higher product quality in naturally-aesthetic packaging, 3) are less persuaded by the attractiveness of an endorser in an advertisement, and 4) are more likely to buy aesthetically imperfect produce. Adding to existing research, the findings of both papers provide new insights into the impact of incidental aesthetics in consumption settings. Surprisingly, even when aesthetic experiences are not intentionally designed or expected to be found, they can still play a significant role in shaping consumer behavior. These findings have practical implications for marketers, who should consider the incidental aesthetics of their products and contexts to create a more positive experience for consumers, leading to higher product perceptions. Overall, this research suggests that the power of aesthetics in influencing behavior extends beyond what consumers consciously perceive or expect to find.

Made available in DSpace on 2014-07-29T16:27:45Z (GMT). No. of bitstreams: 1 desfiando_terezas_part 1.pdf: 3002896 bytes, checksum: fe143d7649549258356adc143f0d061a (MD5) Previous issue date: 2010-05-03 / In this research, I explore the narratives of Tereza Bicuda from my repertoire of childhood memories and aesthetic experiences. Tereza Bicuda figure from a set of narratives that circulate from the colonial era to the present day in the region of Central Brazil. In a multiple perspective and connected to the context of visual culture, I seek from the personal memories and vital, my insertion into the collective life and body of elements that develop in scenic poetry to merge and create fields of dialogue for this study. The elmentos personal poetics of this research are understood and lived as a raw material for reflection with the potential for aesthetic education. The narratives of Tereza Bicuda, along with my textures of learning have been plaited into a meeting / workshop with a group of young Lahetô Circus School. These employees / ox, in a context of artistic, educational and scenic, built drawings / collages and unfolded comments embroider various shades of interpretations. This study establishes a dialogue with the notions of multiplicity (SILVA, 2004) as processes of movement and diversity; "aesthetics of everyday life" (RICHTER, 2003) with an expansion of understanding of concepts, activities, and artistic artifacts and art-educational potential of these practices; notions of "precarious" (Shohat, 2006; Bakhtin, 2008) construed as ingenuity, strength and playfulness; notions of "ethics of care" (Gilligan, 1982), which function as an experience of interconnectedness and caring relationships, and "Baroque fold "(Deleuze, 1991), which connects the three-dimensional textures, linking to the textile. Merchandising notions are constructed by mating elements of "DIY" (Kincheloe, 2007), "autoetnografia (VERSIANI, 2005) and" mapping "(ROLNIK, 2006). / Nesta investigação, abordo as narrativas de Tereza Bicuda a partir do meu repertório de lembranças de infância e experiências estéticas. Tereza Bicuda é figura proveniente de um conjunto de narrativas que circulam desde a época colonial até os dias atuais na região do Brasil Central. Em uma perspectiva múltipla e conectada ao contexto da cultura visual, procuro partir das lembranças pessoais e vitais, da minha inserção na vida coletiva e do corpo de elementos que desenvolvo nas poéticas cênicas para mesclar e criar campos de diálogo para este estudo. Os elmentos das poéticas pessoais são entendidos nesta pesquisa como matéria vivida e matéria de reflexão com potencial de educação estética. As narrativas de Tereza Bicuda, juntamente com minhas texturas de aprendizagens, foram trançadas em um encontro/oficina com um grupo de jovens da Escola de Circo Lahetô. Estes colaboradores/brincantes, em um contexto artístico, educacional e cênico, construíram desenhos/colagens e desdobraram comentários que bordam variados matizes de interpretações. Este estudo dialoga com as noções de multiplicidade (SILVA, 2004) como processos de movimento e diversidade; "estéticas do cotidiano" (RICHTER, 2003) com ampliação de entendimentos de conceitos, atividades e artefatos artísticos e potencial arte-educativo dessas práticas; noções de "precário" (SHOHAT, 2006; BAKHTIN, 2008) entendidas como inventividade, resistência e jocosidade; noçõe de "ética do cuidado" (GILLIGAN, 1982), que funcionam como experiência de interconexão e cuidado nos relacionamentos, e de "dobra barroca" (DELEUZE, 1991), que se conecta às texturas tridimensionais, ligando-se à matéria têxtil. As noções mercadológicas são construídas por meio de cruzamentos de elementos da "bricolagem" (KINCHELOE, 2007), "autoetnografia" (VERSIANI, 2005) e "cartografia" (ROLNIK, 2006).