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Notre projet de recherche vise à récupérer, à travers l’utilisation du double instrument de l’herméneutique philosophiqueet de l’analyse littéraire des romans, une subjectivité informelle à l’intérieur de la pensée de Bataille.Tout d’abord, avant d’accomplir notre démonstration des aspects de l'informalité dans les romans obscènes deBataille, nous souhaitons ouvrir une brève parenthèse autour des principaux interprètes de l'Informe, pour articulernotre lecture à partir de leurs théories. Afin d'aborder ce discours, nous débuterons par l’oeuvre Documents(1929/30), publiée en 1995, par la volonté de D. Hollier, et nous essaierons de comprendre comment les deuxrévisions1 du concept d'Informe - bien qu'en contraste entre elles - ont limité les débats qui gravitent autour de cemot, incluant avec la pensée esthético-figurative toutes les pistes parcourables. Dans cette perspective, l’Informea perdu sa vocation intimement subversive pour obtenir le status de « joujou muséal » impliqué dans le milieuartistique. Après avoir esquissé l’informalité, et donné une perspective contemporaine, nous pourrons aboutir àune confrontation philosophique avec ses maîtres à penser : Nietzsche et Hegel. Ce n’est que grâce à un parallélismeet à la démonstration du dépassement des théories de ces deux auteurs par Bataille que nous pourronscomprendre comment l'auteur parvient à l’informalité qui se reflète jusque dans ses romans obscènes. Toujoursau cours de ce passage on comprendra la véritable signification de la parodie chez Bataille, ainsi que le renversementdes valeurs que l’auteur a appliqué comme lecture souveraine et déformatrice, en contraste avec les véritésdespotiques, dans tous les domaines, à partir de la philosophie jusqu’à la littérature. Ainsi les polarités quiparviennent au manichéisme, à la division du monde entre positif et négatif, seront un aspect basilaire visant à lacompréhension de l’oeuvre entière, et surtout de leur bouleversement. Ce désordre sera procuré par l’inversiondes valeurs morales divisées encore une fois par le haut et par le bas, auxquelles correspondra une valeur positiveà la polarité du haut et une valeur négative à celle du bas; leur bouleversement produira un mouvement de déformationdans la structure des romans mêmes, tout comme dans les personnages. Au cours de la dernière partiede notre étude, avant d’appliquer la théorie informelle, nous nous interrogerons brièvement sur les inversionsmajeures qui ont conduit notre auteur à prendre les distances du roman formatif (Bildungsroman) et à lui opposerun roman déformant (Verbildungsroman). Ce n’est qu’après avoir conçu l’inversion globale des valeurs que nousparviendrons au « jeu des polarités », qui nous mènera à la constitution d’un personnage informel. À partir de là,en effet, nous verrons que le personnage sera devenu une informité qui se manifeste à travers la narration, lamême subjectivité invisible et épouvantable qu’on aura rencontrée au cours du premier chapitre. Se consacrer àl'oeuvre de Bataille, signifie pour nous, non seulement comprendre comment le personnage naît à partir del’Informe, mais également comment cette informité pourrait être acquise au-delà des mores appliqués àl’intérieur de l’académie. Notre démonstration s’effectuera à travers un nouveau regard; l’Informe sera contemplécomme ce « devenir » qui ne devient pas, qui est aphone et imprononçable, mais qui a été malgré toutl’avant-garde des « devenirs deleuziens », des zones d’indistinctions, des sujets qui tentent une reconfigurationspatiale autonome, des subjectivités fluides des gender studies. C’est pour cela, à notre avis, que l’Informe mériteune plus grande réflexion au-delà de l’esthétique, afin d'orienter le terme vers un nouvel horizon dialogique,qui puisse ouvrir le concept au sens extrême de son immanence destructrice. / We can utterly assert that the aim of our analysis has lead, throughout the balancing/ a balancement of aphilosophical hermeneutic and a literature analysis, to the delineation of an informal subjectivity in GeorgesBataille’s thought. Afore the achievement of our theoretical demonstration, we will be glad to onset a briefparenthesis over the first commenters who had set a debate over the Formless, to enhance, thanks to them, ourassumption. Commencing from the work Documents (1929/30), reprinted by the will of Dennis Hollier in 1995.we will understand why its main analysis2 have secluded the debate into the esthetical- figurative corner,effectively closing the debate to other possible postulations. In this perspective, the formless has lost itssubversive tendencies to gain/obtain the pityfull status of «museal knick knack» implied into the artisticaldomain. Afterward having drafted the meaning of formeless by new, and given to it a contemporary perspective,we could start to settle a confrontantion with his philosophical roots: Nietzsche and Hegel. It is only due to theparallel with them both and to the overhaul of their theories, which we could assert that Bataille has in a wayreached the true meaning of formeless. The same formeless that is deeply rooted in his erotical novels. It is alsothrough these passages that we could understand the real meaning of parody in the bataillean sense, that is is aninversion of the moral values that the author has applied as a souverain and deforming lecture of his works. Themanicheism that the autor recour to use to divise the whole reality into two exact parts of positive andnegative,will be a peculiar aspect that leads to the comprehension of his entire work. This disorder wil beprocured, by the inversion of the moral values which are divided into an “high” and a “low”, and as consequent,the higher polarity will be related to the a positive value, and the low, to its tcontrary. Their upheaval willproduse an ethical swap of their positions, in a second stance this will lead to a real deformation of every kind ofpreassumption in his novels and of course in the characters, a rupture taken against every kind of normalizationor reduction to the norms. In the last part of our research, before going through the application the formlesstheory, we will briefly argumentate about the major inversion that had prevailed upon our author, obliging him totake the distance from the Bildungsroman and to oppose to it a Verbildungsroman. Only after conceived theglobal valorial inversion, we will arrive to this “Game of polarities”m which will lead to the constitution of ainformal character. Starting from there, effectively, we eill see that the character will become a formless thatmanifest itself thanks to the narration, the same invisible and terrifing subjectivity that we have already met inthe first part of our work. Consacrating ourselves to the Bataille’s works, will signify, not only trying tounderstand the character born under a formless will, but even also- how this formless could be gained far distantfrom the mores applayed into the university. Our demonstration, will be constructed to have a new eye: theformless will be conceived to be à “becoming” that can’t be, that is aphone and unpronounceable, but so forth, itis a right alternative to the “Deleuzian’s becoming”, to the Z.O.O and of the subjects that are trying to force areconfiguration of an autonomous space, of the fluid sexualities: and is for these reasons that we evinct that theformless needs a new recalibration, far from the aesthetical intuitions, in need to re-orienting itself to a newdialogical horizon, and to put itself to the extreme sens of a destructive immanence.

O presente trabalho é uma reflexão em poéticas visuais sobre o comportamento e a condição da matéria informe. Para tal, está fundado e traz como recorte a crueza da massa de pão. Ao se utilizar desse material, a prática plástica se relaciona com uma fisicalidade que se perde com o tempo. Em razão dessa efemeridade da matéria, o uso de vídeo e da fotografia tornam-se recorrentes para registro da imagem do que inevitavelmente se esvai. A questão, portanto, é sobre este novo corpo que se apresenta de outra maneira por meio das imagens. Nesta mudança de parâmetro entre material e imaterial, busca-se compreender sobre a condição da matéria nas imagens, apoiando-se nos conceitos de informe, relativo ao contingente da matéria, e de viscoso, atrelado às visualidades evocadas. Utiliza-se como auxílio nesta reflexão, ideias que transitam entre espessura e (im)permanência. / The present work is a reflection on visual poetics about the behavior and the condition of the formless matter. For this, it is founded and brings as a cutting the crudeness of the bread dough. When using this material, the plastic practice is related to a physicality that is lost with time. Because of this ephemerality of matter, the use of video and photography becomes recurrent to register the image of what is inevitably evaded. The question, therefore, is about this new body which is presented in another way through images. In this change of parameter between material and immaterial, it is sought to understand about the condition of matter in the images, based on the concepts of formless, relative to the contingent of matter, and to the viscous, attached to the evoked visualities. It is used as an aid in this reflection, ideas that transit between thickness and (im)permanence.

Potential Fields is an obstacle avoidance and general path-finding technique that has only quite recently started to be used in AI for video games. It has previously mainly been used in robotics for robot navigation. Although quite unexplored, Potential Fields have so far worked well in video games. Previous research has mainly focused on RTS (Real-Time Strategy) games. This research explores the use of Potential Fields in another genre called arena games (which is a quite unexplored genre as well). In the implementation, multiple Potential Fields have been used together, where each field had a different task. Also, weights were used on the different Potential Fields to give them different importance depending on some factors that are dynamic through the game, hence the use of the word weighted. The main focus of the user studies conducted was the impact the weights had on the computer controlled unit's general behaviour. The user studies conducted showed that it was hard to determine who was a computer controlled character and who was human controlled, therefore telling that multiple Potential Fields worked well for movement. The test participants became better at determining this the second match they played, no matter the properties of the match. However, the user studies did not show that the weights made a remarkable difference; there was no significant improvement on the situation adaptation and team cooperation, but no deterioration either. The concept of using weights needs to be explored further.

Tel qu’il a été formulé par Georges Bataille dans Documents, dans les premières décennies du XXe siècle, l’informe s’est avéré être un puissant moteur de réflexion. Il a fait naître des œuvres qui disent s’en inspirer, et motivé un âpre débat théorique sur le véritable sens à lui donner. Qu’est-ce que l’informe, en effet ? Cette catégorie complexe et paradoxale s’avère très fructueuse dans l’analyse des œuvres théoriques, plastiques et littéraires de la Renaissance qui s’intéressent à la naissance des formes. L’utilisation d’une notion anachronique permet de réunir dans un même ensemble les préoccupations concernant les origines de l’œuvre d’art, celles sur la bonne composition, ainsi que celles concernant la Matière et l’Être. Ce travail dégage ainsi ce qui serait une poétique de la forme en devenir, poétique se réclamant de la philosophie néo-aristotélicienne de l’époque mais opérant un élargissement d’horizons et une refonte conceptuelle très éloignés de la pensée antique. / From the early XXth century the Formless, as defined by Georges Bataille in Documents, has revealed itself to be a powerful tool for reflection. It has inspired art works and triggered an ongoing debate about its true meaning, for what is the formless exactly? In search for its essence, this category has proven to be of great value when analyzing theoretical, artistic and literary Renaissance works dealing with the birth of form. The anachronic notion of Formless permits an intertwining of questions regarding the origins of the piece of art, good composition, matter and being. Through this essay we will discuss the poetics of art in the making, so-called (neo)Aristotelian in the XVIth century – poetics in a constant and fluid definition of the Aristotelian meaning enlarged by non-Aristotelian concepts, and categories distant to those attributed to it in classical times.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

No \"campo ampliado\" da cultura contemporânea, arte e arquitetura partilham cada vez mais questões comuns. Assim, seja em relações de colaboração, ou seja em relações de afrontamento, a arquitetura e a arte hoje dissolvem suas antigas fronteiras disciplinares para compor um poderoso complexo social e midiático, cujo sentido é fundamental para a compreensão do mundo contemporâneo. Sem isolar a problemática brasileira em relação ao conjunto da produção mundial, esse trabalho se propõe o desafio de pensar o eclipsamento da tectônica, da materialidade e da noção de trabalho em um mundo globalizado e dominado por produções imateriais de valor, como o capital financeiro. Evitando estabelecer um juízo definitivo sobre essa questão, procura-se entender como as produções de alguns arquitetos e artistas contemporâneos lidam com a realidade de um mundo cada vez mais impalpável e convertido em imagem, isto é, consumido permanentemente. A hipótese assumida aqui é a de que, na impossibilidade de se restaurar a resistência do mundo e da matéria - que pudesse recolocar em causa a \"estética da formatividade\" moderna -, alguns dos melhores artistas e arquitetos contemporâneos traduzem o dilema atual na forma de uma perda de foco da imagem ou do objeto, que se traduz também em uma voluntária busca pela ausência de forma. Desse modo, a poética do informe e a nuvem são, a meu ver, expressões potentes da crise contemporânea. / In the \"expanded field\" of contemporary culture, arts and architecture increasingly share common issues. Hence, whether in relations of collaboration or confrontation, arts and architecture dissolve their old disciplinary boundaries to form a powerful social and media framework, which meaning is essential for the understanding of the contemporary world. Encompassing the Brazilian problematic in relation to the body of international production, this research attempts to undertake the challenge of reflecting about the hiding tectonic, materiality and perception of work in a globalized world dominated by the immaterial production of value, such as the financial capital. Although this research precludes a definitive judgment about this issue, it attempts to understand how the outputs of some contemporary architects and artists deal with the reality of a world that is ever more intangible and converted in images, and in other words, permanently consumed. The hypothesis posed here is that, in the impossibility of restoring the resistance of the world and matter - which would put back in discussion the modern \"formativeness of aesthetics\" -, some of the most prestigious contemporary artists and architects translate the current dilemma in the loss of focus in images or objects, which also translates itself in a voluntary search for the absence of form. Hence, the poetics of formless and clouds are, from my point of view, powerful expressions of the contemporary crises.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".