No description available.

The essay acts as a blueprint over my artistic practice. It is through the friction caused by th relations between the Keywords mentioned above I strive to achieve a dynamic which will act as an interlocutor between the fields, which are not separated but which fail to understand each others' logic and instead more or less intentionally seek to overwrite each other. / [I examensarbetet ingår utställningen: "Taking care of business":] The show was a total installation spanning over 7 days in which Studio Stök (Fredrik Fermelin and I) were constantly keeping the exhibition going: One room was filled with gelatine and lasers, was connected to another room by a tunnel in which a robotic vacuum cleaner constantly active. The other room was filled with +20 office chairs with incense sticks. Fredrik and I were never seen, but for 13 hours a day (07:00am-06:00pm), we mopped up the water from the "melting" gelatin so people could walk, lightning new incense, switching vacuum cleaners and mixing playlists with binaural beats for the tunnel. It was a way of catering an immediate sensation experienced as a viewer, no textualization was presented and enunciated indicating the exhibition was to be read in a certain way, and no artist was present creating a somewhat eerie sensation of a presence or absence. The smells were carried through the exhibition by the draft from the open doors and each room thus pre-empted the other. . Each room had an entrance and people were thus entering from two directions, there was no wrong way of entering and experiencing, the choreography of the exhibition created a sort of moebious strip which ended as quickly as it had lasted. During the week various flash events were held where the backspace which in normal circumstances acts as the entrance was opened. Material: Various Teknik: Installation The exhibition and partially the essays was a completely collaboration between Cecilie Hundevad Meng and Fredrik Fermelin as the artist group Studio Stök. The Exhibition and the essay(s) was only indirectly connected. / <p>The essay was abstractly linked to the exhibition.</p>

Die Leitidee der vorliegenden Untersuchung besteht darin, das Phänomen der von Literatur und Kunst bis auf Populärkultur und Tourismus reichenden Inselfaszination mit Blick auf maßgebliche Denkfiguren und Codes des modernen Wissens zu analysieren. Anschließend an eine phänomenologische und strukturelle Ansicht inselhafter Räume wird im ersten Teil der Arbeit deren mythische, literarische und ikonographische Aneignung von der Antike bis in die Neuzeit schematisiert. Über topische Inhalte hinaus wird der Blick dabei auf eine Reihe formaler Eigenschaften gerichtet, die den Deutungsspielraum von Inselvorstellungen definieren. Der zweite Teil der Arbeit ist der Funktion imaginärer und symbolischer Inselbezüge im Zwischenraum der Entdeckung Tahitis und der romantischen Natur- und Kunstphilosophie gewidmet. Er zielt darauf, die Konstruktion eines modernen Wunschraums nachzuzeichnen, der die Insel als "symbolische Landschaft" an den Horizont eines äußersten Wissens und Genießens setzt. Über die Implementierung eines fiktionalen Inselglücks in Konzeptionen von Landschaft, Erleben, globaler Topographie und Geschichte hinaus geht es dabei um Auswirkungen auf ein modernes Verständnis von Natur, Kunst, Verlangen, Schöpfung und Autorschaft. Deren Beobachtung schlägt der Untersuchung schließlich die Brücke zu Rückkopplungen von Modernität, Primitivismus und Inselphantasien in Konzepten der Avantgarde. Der abschließende dritte Teil der Arbeit unternimmt es zu zeigen, daß die um 1900 vehemente Renaissance einer literarischen und künstlerischen Inselfaszination sowie die gleichzeitigen Artikulationen eines unbewußten oder unsagbaren "Anderen" einander als analoge Denkbewegungen korrespondieren. / The leading idea of this study lies in the analysis of the phenomenon of "Island Fascination", which reaches from literature over fine art to popular culture and tourism. This is done by looking at some of the essential concepts and codes of modern knowledge. A phenomenological and structural view of insular spaces is followed by an outline of their mythic, literary and iconographic interpretation from antiquity to modern times in the first part of the work. The look is directed beyond specific topic contents to a series of formal characteristics, which define the latitude of island interpretations. The second part of the work is concerned with the function of imaginary and symbolic island references between the discovery of Tahiti and the Romantic natural and art philosophy. It sketches the conctruction of a modern space of desire, which presents the island as a "symbolic landscape" at the horizon of a sphere of utmost knowledge and enjoyment. The work tackles the implementation of a fictional insular happiness in concepts of landscape, experience, global topography and history; and it deals with the effects of this topic on modern ideas of nature, art, desire, creation and authority. The analysis of such ideas leads to a closer examination of retroactions of modernity, primitivism and insular imaginations in concepts of the avant-garde. The final third part of the work intends to show that the vehement revival of literary and artistic insular fascination about 1900 corresponds to simultaneous articulations of an unconscious or unspeakable "other".

Esta pesquisa discorre, através das obras do artista Carlos Zílio, sobre pontos ora divergentes, ora complementares, tais como utopias, heterotopias, estética e política, pensamento utópico e pós-modernidade. Este artista foi selecionado levando em consideração o período de elaboração de suas obras, no qual havia uma profunda modificação na estrutura política do Brasil. As décadas de 1960/70, período de análise das obras, foram marcadas pelo Regime Militar brasileiro, que dentre das muitas ações, perseguiu aqueles que eram contrários às novas imposições governamentais. Tendo em vista essa datação das obras, as análises partem do engajamento político para o engajamento estético, fazendo uma comparação entre esses dois campos, discutindo as relações da arte com a política. Outro ponto de discussão das obras de Zílio é sua função utópica, após uma reavaliação deste conceito, que perde sua força onírica para se tornar um conceito relacionado a impulsos transformadores e políticos. Ao analisar obras deste período faz-se necessário a análise do conceito de pós-modernidade e o entrelaçamento com as utopias, considerados pensamentos antagônicos. Após as comparações entre todos os conceitos podemos intitular as obras e ações de Zílio como vida artista, conceito foucaultniano, que relaciona arte e vida dos artistas como uma ação inseparável. Zílio faz de sua vida uma ação estética / This research, through the work of artist Carlos Zílio, discusses on, at times complementary, at times divergent points such as utopias, heterotopias, aesthetics and politics, utopian thinking and postmodernity. This artist was selected taking into account the period of preparation of his pieces, when there was a profound change in the Brazilian political structure. The 1960s/70s, period of the pieces analyzed, were marked by the Brazilian military regime that, among many other actions, chased those who were opposed to the new government impositions. Given the time when the works were made, the analyzes goes from the political engagement to the aesthetic engagement, making a comparison between these two fields, discussing the relationship between art and politics. Another point of discussion of Zílios pieces is their utopian function, following a reassessment of the concept, which loses its dreamlike force to become a concept related to transforming and political impulses. By analyzing the pieces of this period, it is necessary to analyze the concept of postmodernity and the intertwining with utopias, considered antagonistic thoughts. After the comparisons between all the concepts, we title the works and actions of Zílio as artistic life, foucauldian perspective, which relates art and life of artists as an inseparable action. Zílio makes of his life an aesthetic action

VASCONCELOS, Ana Lúcia da Silva. Instituto Bom Pastor – Fortaleza/Ceará: heterotopia, educação corretiva, autobiografia e memória. 2014. 152f.– Tese (Doutorado) Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-25T14:15:57Z No. of bitstreams: 1 2014_tese_alsvasconcelos.pdf: 1931438 bytes, checksum: 1bd5454e17ef71d4f5d7c2944cc135b2 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-26T11:27:25Z (GMT) No. of bitstreams: 1 2014_tese_alsvasconcelos.pdf: 1931438 bytes, checksum: 1bd5454e17ef71d4f5d7c2944cc135b2 (MD5) / Made available in DSpace on 2017-05-26T11:27:25Z (GMT). No. of bitstreams: 1 2014_tese_alsvasconcelos.pdf: 1931438 bytes, checksum: 1bd5454e17ef71d4f5d7c2944cc135b2 (MD5) Previous issue date: 2014 / This thesis seeks to understand through the perspective of heterotopia and remedial education, as set educational practice, performed by correcting and moralizing seized by single women-mothers, in Fortaleza, collected when the institution created for this purpose called Good Institute pastor. This entity performed charity work and was directed by the religious of the Congregation of Our Lady of Charity of the Good Shepherd. Mission was to house single young people that bore the act of getting pregnant without marriage. By the lack of written sources, resort to narratives of Maria Francisca Santos (Dona Chiquinha) over the period out internal and cook in that institution. His life story is considered in this research the main source of research on the Good Shepherd Institute. The terms "correction and moralization" are understood as learned in this study that aims to be practiced, and that is instilled in people's behavior. The idea of power exercised over themselves from the inside is important for the understanding of educational practices, initiated in Fortaleza, from the second half of the nineteenth century and, in some ways, in many of these institutions would endure after World War II . That is why I consider the Good Shepherd Institute as a place where one develops a heterotopia (agglutination hetero = other + topia = space). Foucault uses the term heterotopia to describe spaces that have multiple layers of meaning or relationships to other places and whose complexity can not be seen immediately. In this case, I use the concept of heterotopia of deviance and purification, understood as a space that is isolated and impenetrable to the public without permission, used for purification, whether for religious, remedial or hygienic reasons. / Esta tese buscou compreender mediante a perspectiva da heterotopia e da educação corretiva, como foi configurada a prática educativa, realizada através de correção e moralização apreendidas pelas moças-mães solteiras, na cidade de Fortaleza, quando recolhidas à instituição criada para este fim denominada Instituto Bom Pastor. Essa entidade realizava trabalhos filantrópicos e era dirigida pelas religiosas da Congregação de Nossa Senhora da Caridade do Bom Pastor. Tinha como missão abrigar jovens solteiras que incorriam no ato de engravidar sem o casamento. Pela carência de fontes escritas, recorremos às narrativas de Francisca Maria dos Santos (Dona Chiquinha) sobre o período que fora interna e cozinheira na referida instituição. A sua história de vida é considerada nesta pesquisa a principal fonte de investigação sobre o Instituto Bom Pastor. Os termos “correção e moralização” são entendidos neste estudo como o aprendido que visa a ser praticado, e que é inculcado no comportamento das pessoas. A ideia do poder sobre si exercido a partir do interior é importante para a compreensão das práticas educativas, iniciadas em Fortaleza, a partir da segunda metade do século XIX e que, de certa forma, em muitas dessas instituições, perduraria após a II Guerra Mundial. É por isso que considero o Instituto Bom Pastor como lugar onde se desenvolve uma Heterotopia (aglutinação de hetero = outro + topia = espaço). Foucault usa o termo heterotopia para descrever espaços que têm múltiplas camadas de significação ou de relações a outros lugares e cuja complexidade não pode ser vista imediatamente. Neste caso, utilizo o conceito de heterotopia de desvio e de purificação, entendida como espaço que estão isolados e impenetráveis ao público sem permissão, usados para a purificação, seja por motivos religiosos, corretivos ou higiênicos.

This thesis aims to examine how Swedish ‘sommarstuga’ (Summer Cottage) or ‘cabins’ contributes to the production of gender equal values. This ethnographic work is based on the central case study of the members from Uppsala Extremsportförening, (UppX) and their interactions during two cabin trips; one to a surf cabin in Ericeira Portugal and the other a family cabin in Ängskärs, Sweden. The fieldwork conducted was implemented in a multi-sited ethnographic approach allowing for a broader perspective of possible fieldsites and the techniques of ‘Following The People’ and ‘Carnal Sociology’. Consequently, this led to unique experiences where the ‘sense of place’ of Swedish cabin traditions and values could be seen being practiced in Portugal. While, aiming to address the participants of this fieldwork thoughts and views on myths and misconceptions of Sweden’s image as a utopia or role model for egalitarian values. This thesis highlights that cabins and their surrounding spaces facilitate more than just sporting pursuits. They are a microcosm of interactions, a social space for family and friends, for play and gender politics; a world within a world. Concluding that, Swedish cabins are a ‘heterotopia’ or haven that facilitates gender equal interactions, evidencing this through case studies of gender equal participation in various sporting activities while staying in two very different cabins.

Esta pesquisa discorre, através das obras do artista Carlos Zílio, sobre pontos ora divergentes, ora complementares, tais como utopias, heterotopias, estética e política, pensamento utópico e pós-modernidade. Este artista foi selecionado levando em consideração o período de elaboração de suas obras, no qual havia uma profunda modificação na estrutura política do Brasil. As décadas de 1960/70, período de análise das obras, foram marcadas pelo Regime Militar brasileiro, que dentre das muitas ações, perseguiu aqueles que eram contrários às novas imposições governamentais. Tendo em vista essa datação das obras, as análises partem do engajamento político para o engajamento estético, fazendo uma comparação entre esses dois campos, discutindo as relações da arte com a política. Outro ponto de discussão das obras de Zílio é sua função utópica, após uma reavaliação deste conceito, que perde sua força onírica para se tornar um conceito relacionado a impulsos transformadores e políticos. Ao analisar obras deste período faz-se necessário a análise do conceito de pós-modernidade e o entrelaçamento com as utopias, considerados pensamentos antagônicos. Após as comparações entre todos os conceitos podemos intitular as obras e ações de Zílio como vida artista, conceito foucaultniano, que relaciona arte e vida dos artistas como uma ação inseparável. Zílio faz de sua vida uma ação estética / This research, through the work of artist Carlos Zílio, discusses on, at times complementary, at times divergent points such as utopias, heterotopias, aesthetics and politics, utopian thinking and postmodernity. This artist was selected taking into account the period of preparation of his pieces, when there was a profound change in the Brazilian political structure. The 1960s/70s, period of the pieces analyzed, were marked by the Brazilian military regime that, among many other actions, chased those who were opposed to the new government impositions. Given the time when the works were made, the analyzes goes from the political engagement to the aesthetic engagement, making a comparison between these two fields, discussing the relationship between art and politics. Another point of discussion of Zílios pieces is their utopian function, following a reassessment of the concept, which loses its dreamlike force to become a concept related to transforming and political impulses. By analyzing the pieces of this period, it is necessary to analyze the concept of postmodernity and the intertwining with utopias, considered antagonistic thoughts. After the comparisons between all the concepts, we title the works and actions of Zílio as artistic life, foucauldian perspective, which relates art and life of artists as an inseparable action. Zílio makes of his life an aesthetic action

Cette thèse tente d’analyser différents phénomènes observables à partir d’un sujet apparemment délimité de manière claire dans le temps et l’espace : un spectacle touristique au sein d’un parc d’attractions à Taïwan, mettant en scène des instruments de musique dits traditionnels. Cette délimitation dans le temps et l'espace se produit à plusieurs niveaux — c’est-à-dire dans plusieurs échelles de temps et d’espace — d’un plus global (Taïwan) à un plus local (la scène) en passant par un niveau intermédiaire (le parc). Mais avant tout, ce sujet se situe dans l’espace limité d’une monographie — cette thèse — et dans son temps propre, celui des enquêtes de terrain, et de l’écriture. Dans un premier temps, nous tentons de comprendre notre condition de chercheur, de prendre en compte que ce que nous allons produire, la thèse, comme ne pouvant être totalement neutre. Le but ici est de garder à l'esprit que tout récit est producteur d'un discours et par conséquent subjectif.Ce récit producteur d’un discours nous amène, ensuite, à reconsidérer l’histoire de Taïwan. Il s’agit dans cette partie de comprendre, par le biais d’une analyse de l’historiographie à Taïwan, dans quelle histoire de Taïwan se situe le sujet de notre recherche.Dans la troisième partie, nous nous attachons à comprendre un phénomène non spécifique à Taïwan, le tourisme, afin de mieux cerner les particularités de celui pratiqué sur l’île, puis de celui pratiqué au sein du parc d’attractions, lieu du spectacle. Ce lieu « hors sol » qu’est le parc, nous tentons de l’aborder comme une hétérotopie, où temps et espaces s’affranchissent des échelles naturelles.La quatrième partie de la thèse se concentre sur le spectacle et les instruments de musique, ceux mis en scène mais aussi ceux répertoriés par les ethnomusicologues, afin de pouvoir analyser ce qui sont présents ou non sur la scène, et les raisons de ces choix pour enfin nous focaliser sur les « champs » du spectacle en présence. / This thesis attempts to analyse various phenomena observed from a topic apparently clearly delimited in time and space: an on-stage performance in a touristic theme park in Taiwan featuring musical instruments presented as traditional ones. Such delimitation in time and space, presents itself on different levels, from a more global –Taiwan- to a more local – the stage- through an intermediate one – the park, but also in the process of writing this thesis.Firstly, we will try to understand our condition as a researcher, to consider that what we produce, the thesis, as something which cannot be completely neutral. The goal here is to keep in mind that every narrative produces a discourse and, thus, is subjective.Such narrative brings us, in a second moment, to rethink Taiwan’s history. In this part, the goal is to understand, through the analysis of Taiwan’s historiography, what is the specific Taiwan’s history that take place now in Taiwan. In other words: its context not solely on a local scale, but also in a global scale.In the third part of this thesis, we endeavour on the understanding of a phenomenon not specific to Taiwan, Tourism, to better understand the specificity of such practice within the island, and finally of such practice in the amusement park: the place of our show. Because we consider this park as a "hors sol" place, we try to approach it as a heterotopia, where differents times and spaces coexist.The fourth part of the thesis focus on the on-stage performance and the musical instruments on stage, but also those listed by ethnomusicologists, in order to analyse what is present on the scene, what is not, and the reasons for these choices.These different levels of focus required for a more comprehensive understanding of the subject, lead us in the fifth part in the hermeneutics of this show — show that we understand as a discourse — where we observe the formation of a syncretic indigenous culture in Taiwan, with highlight the "fields" (in Bourdieu’s sense) of the show involved.

Humanicité est un nouveau quartier, né à l’initiative de l’Université Catholique de Lille qui, à travers ce projet urbain, a souhaité élargir et diversifier ses activités sanitaires et médicosociales. Il s’agit de créer un lieu empreint de mixité où sont présents tous les représentants de la société dans leur diversité y compris les personnes ayant un handicap. Ce projet utopique comporte également le souhait de co-construire avec toutes les parties prenantes, des innovations suscitées par les questions qui se posent dans ce nouveau lieu de vie. Pour en accompagner l’émergence, mais aussi organiser la participation des habitants et usagers, l’ensemble du quartier est le lieu d’un Living Lab. Cette utopie, forme de projection d’une autre société meilleure et plus juste, cherche à être traduite dans la réalité. Nous postulons, à la suite d’auteurs comme Ricœur, qu’elle est fondamentalement réalisable et pour se faire elle entre dans un processus de traduction, elle mobilise des objets, se transmet à travers la multiplication des interactions, jusqu’à se confronter, dans sa matérialisation, à la réalité. En devenant réelle, cette utopie donne naissance à une hétérotopie Humanicité, un « contre-emplacement », qui met au jour les représentations et appropriations de l’espace. Il s’agit dans ce travail de recherche et grâce à ce terrain particulier, de comprendre le processus par lequel un projet innovant d’urbanisme devient le projet des habitants, des intervenants et partenaires qui ont et auront à le vivre. / Humanicité is a new neighborhood, born on the initiative of the Catholic University of Lille which wanted, through this urban project, to expand and diversify its health and medico-social activities. It is about creating a place full of diversity where all the members of society are present, including people with disabilities. This utopian project is also about co-creating, with all the stakeholders involved, innovations developed in response to issues related to this new living space. To guide the emergence of this process and also to organize the participation of the inhabitants and users, the whole neighbourhood houses a Living Lab. This utopia, a projected form of another society which would be better and fairer, pursues the objective of being translated into reality. Following authors like Ricœur, we assume that utopia is fundamentally achievable and that doing so embarks on a process of translation, mobilizes objects, and spreads by the growing of interactions until it confronts the reality of becoming material. When it becomes real, this utopia creates a heterotopia - a space of otherness - which reveals the appropriations and perceptions of space. In this study the objective is to understand the process by which an urban innovation project becomes that of its inhabitants and stakeholders who have and will have to live in it.

Studying the societal and spatial implications of dirt and its inherent out-of-placeness brought forth a heuristic exploration of heterotopic spatial qualities within the realm of architecture. Taking on the metaphorical role of dirt, the prison is juxtaposed with its societally defined counterpart, the museum. An architectural form began to take place via the implementation of interpretations and a general ambiguity derived from the strange merger of the two ‘counterparts’. The Prison of Stained Acceptance questions and tests boundaries of acceptance within societal stigmatization of otherness, furthermore, inquires the efficacy of out-of-placeness on humanity indoctrinated into a defined good/clean and bad/dirty. With a focus on humaneness and egality, the prison tests the possible outcomes within the occurrence of power shift – from a governing/guarding body to the inmates and architecture. The heterotopic nature of the proposal perhaps raises more questions than it answers, however, it became imperative to sprout a debate within its eclecticism. Rather than defending a direct conclusion this thesis focuses on provocation and thought.