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This thesis is about the heritage in Vientiane. In an attempt to go beyond a more traditional descriptive approach, the study aims at bringing forward a discussion about the definition, or rather the multiplicity of definitions, of the concept of heritage as such. The unavoidabe tension emanating from a modern western frame of thought being applied to the geographical and cultural setting of the study provides an opportunity to develop a criticism of some of the assumptions underlying our current definitions of heritage. For this particular study, heritage is defined as to include stories, places and things. It is a heritage that is complex and ambiguous, because the stories are parallel, the definitions and perceptions of place are manifold and contested, and the things and their meaning appear altered, depending on what approach to materiality is used. The objective is not to propose how to identify and manage such a complex heritage. Rather, it is about what causes this complexity and ambiguity and what is in between the stories, places and things. In addition, the study aims to critically deconstruct the contemporary heritage discourse, which privileges material authenticity, form and fabric and the idea that heritage values are universal and should be preserved for the future and preferably forever. In Laos, Buddhism dominates as religious practice. In this context, the notion of material impermanence also governs the perception of reality. Approaches to materiality in Buddhism are related to the general ideas that things are important from a contemporary perspective and primarily as containers for spiritual values, that the spiritual values carry the connection to the past, and that heritage is primarily spiritual in nature and has little to do with physical structure and form. By exploring the concepts of restoration, destruction and consumption in such a perspective, we understand that preservation and restoration are active processes of materialisation. We also understand that destruction and consumption are necessary for the appreciation of certain heritage expressions, and that heritage is being constantly created. With this understanding, this book is an argument for challenging contemporary western heritage discourse and question its fundamental ideology of preservationism.

Made available in DSpace on 2016-10-13T14:10:33Z (GMT). No. of bitstreams: 1 EllenKiss.pdf: 20076971 bytes, checksum: 5dab15a6e755948940660057ecd2a367 (MD5) Previous issue date: 2011-03-21 / The research project proposes an investigation into the production of meaning through brands and their respective media discourse and communication strategies in the context of immateriality, in which the symbolic, aesthetic and social value of the product outweighs its practical use. The study have the objective to understand the trajectory of the meaning embedded in society by the brands through their discourses and to identify the historical moment of the rupture between the actual object, material and its immaterial construction. The Apple brand was chosen as the corpus, once it went through a transition process from material to immaterial identity, encompassing their media discursive strategies propagated in the period of 1970 to 2010. The methodology was to survey the theoretical understanding of the issues to be discussed in the study: consumption, brand discourse, immateriality, brand and design. As a result, we defined a selection of the corpus to be analyzed, based on two movements Retoric Constructions of Carrascoza and the Semiotic Map of Andrea Semprini. / A presente dissertação propõe uma investigação sobre a produção de sentido das marcas publicitárias, por meio do discurso midiático e suas respectivas estratégias de comunicação no contexto da imaterialidade, em que o valor simbólico, estético ou social dos produtos prevalece sobre o seu valor de uso prático. O estudo tem como objetivo compreender a trajetória dos significados incorporados à sociedade pelas marcas por meio de seus discursos e identificar em que momento histórico houve a ruptura entre o objeto real, material e sua construção imaterial. A marca Apple foi escolhida como corpus, uma vez que passou por um processo de transição identitária de material para imaterial, englobando as suas estratégias discursivas propagadas em mídia impressa no período de 1970 a 2010. A metodologia aplicada foi levantamento de referencial teórico para o entendimento dos aspectos a serem discutidos no estudo: consumo, discurso publicitário, imaterialidade, marca e design. Na sequência, foi realizada a seleção do corpus a ser analisado, cuja fundamentação analítica baseou-se em dois movimentos - Construções Retóricas de Carrascoza e Mapeamento Semiótico de Semprini.

Made available in DSpace on 2016-04-26T18:12:29Z (GMT). No. of bitstreams: 1 Thais Novais de Curtis.pdf: 9918014 bytes, checksum: 2b014b120b5e55edadd2af4e1851a3c5 (MD5) Previous issue date: 2012-10-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research aims to investigate how the counterfeit of brands and products could be inserted in the imaginary of contemporary culture as an economic and social force. The study is built on issues raised about the current expansion of the forgery market, as well as the immaterial aspect that follows them up, which focuses directly on the emotional consumption, both sensory and experiential. For the last 30 years there has been considerable effort from companies and their marketing and communication sectors in shifting consumer perceptions of what would be the functional properties of the material consumer goods for the brand values, which come to represent a whole universe of culture, experiences, feelings, affection, thereby changing the dynamics of consumption relations. The immateriality that accompanies the product, represented by the brand, is transformed into a commodity and becomes the object of consumer desire. We will examine the hypothesis that the dematerialization of products, resulting from the emergence of the immaterial economy, understood as an economy of knowledge, information and services, and the consequent branding around an universe of values, beyond, therefore, of the physical feature of consumer goods, finds one s way through a wave of forgeries that aims to associate "second line" products with brands established on consumers minds. It will be investigated recurrent immaterial properties that are ascribed to the counterfeit goods and are able to stimulate the perception of experience on individuals minds. Besides the economic value of the counterfeit goods, there are promises of satisfaction that can be fulfilled by both, the original and the copies. It will be also analyzed how the market of fakes can present itself as a marketing strategy for the dissemination of some brands. The research methodology will extend from studies of immaterial economy and its impact on individual consumer, passing through the development of brand concept and its relations with consumption, to the analysis of counterfeit industry. The authors used as reference of the research are Andrea Semprini, Antonio Negri, Gabriel Tarde, Gilles Deleuze, Gilles Lipovetsky, John Kenneth Galbraith, Juliet Schor, Loretta Napoleoni, Martin Lindstrom, Maurizio Lazzarato, Max Lenderman and Walter Benjamin, among others / A presente pesquisa tem como objetivo investigar de que maneira as práticas de falsificação de marcas e produtos conseguiram se instalar no imaginário da cultura contemporânea, como uma força simultaneamente econômica e social. O estudo parte de questões levantadas tanto sobre a atual expansão do mercado de produtos falsificados, quanto do aspecto imaterial que os acompanha, o qual incide diretamente sobre o consumo emocional, de natureza sensorial e experiencial. Nos últimos 30 anos houve um esforço considerável das empresas e de seus setores de marketing e comunicação em deslocar a percepção dos consumidores daquilo que seriam as propriedades funcionais dos bens materiais para os valores da marca, que passam a representar então todo um universo de cultura, de experiências, de sensações, de afeto, modificando com isso a dinâmica de relações de consumo. A imaterialidade que acompanha o produto, representada pela marca, é transformada em commodity e torna-se o objeto de desejo do consumidor. Buscaremos analisar a hipótese de que a desmaterialização dos produtos decorrente da emergência da economia do imaterial, entendida como uma economia do conhecimento, de informação e de serviços, e a consequente construção das marcas em torno de um universo de valores, para além, portanto, dos suportes físicos dos bens de consumo, abre caminho a uma onda de falsificações que buscam, justamente, associar produtos de segunda linha com marcas estabelecidas no imaginário dos consumidores. Serão averiguadas as propriedades imateriais mais recorrentes que são atribuídas aos itens falsificados e capazes de estimular a percepção de experiência na mente dos indivíduos. No limite, para além do valor econômico dos bens falsificados, há as promessas de satisfação, que podem ser cumpridas tanto pelos originais quanto pelas cópias. Igualmente, serão feitas análises apontando de que forma o mercado de falsificações pode apresentar-se como estratégia de marketing para difusão de algumas marcas. A metodologia da pesquisa se estenderá desde estudos sobre a economia imaterial e seus reflexos no sujeito consumidor, passando pelo desenvolvimento do conceito de marca e suas relações com o consumo, até as análises da indústria de contrafação. Os autores que servem como referência da pesquisa são Andrea Semprini, Antonio Negri, Gabriel de Tarde, Gilles Deleuze, Gilles Lipovetsky, John Kenneth Galbraith, Juliet Schor, Loretta Napoleoni, Martin Lindstrom, Maurizio Lazzarato, Max Lenderman e Walter Benjamin, entre outros

Cette thèse interroge et analyse comment la lumière, en tant que phénomène naturel et physique, est devenue un phénomène proprement pictural. Si la lumière, qu’elle soit naturelle ou artificielle, est la force mettant en acte la visibilité du monde pour la majorité des êtres vivants, elle est également à l’origine des couleurs qui sont les effets de son action spécifique sur l’œil. En interagissant directement avec la matière, la lumière produit la couleur et penser philosophiquement le concept de lumière dans l’art pictural revient donc tout d’abord à comprendre le cheminement des voies propres de la couleur qui fut progressivement reconnue comme la spécificité même de la peinture. Intrinsèquement liées au sein de toute expérience perceptive, lumière et couleur impliquent un processus physiologique dont les paradigmes évoluèrent au fil des siècles. La couleur révèle un monde visible dont l’origine lumineuse échappe pourtant à la perception et les peintres œuvrèrent à dégager l’origine invisible du visible : la lumière, essence de la visibilité. Le sujet percevant, découvert comme l’agent actif de l’expérience optique impliqua une transformation radicale et le monde du visible, qui constituait jusqu’alors une forme privilégiée de connaissance, fut reconsidéré en fonction des caractéristiques subjectives de l’œil. En devenant objet de connaissance, la vision pénétra ainsi dans le champ de la philosophie et des sciences expérimentales. C’est plus particulièrement à travers l’analyse de l’œuvre de Mark Rothko et de celle de Pierre Soulages que nous orienterons la seconde partie de notre recherche tant le concept de lumière y rencontre de riches problématiques esthétiques qui entrent en résonance avec les paradigmes artistiques propres à l’histoire de la peinture. / This doctoral thesis suggests questionning how light, a natural and physical phenomenon has also become a concept in the field of painting. Light, artifical or natural, is not only the mere driving force behind vision for the majority of beings in this world, it is also at the origin of colors, which result from the action of light on the eye. By interacting directly with the material, light produces color. Therefore, to think philosophically the concept of light in pictorial art would thus means first to understand the inner ways of color, which have been gradually recognized as the true specificity of painting. Intrinsically connected within any perceptive experience, light and color involve a physiological process paradigm which evolved in the course of the centuries. Color reveals a visible world whose bright origin still cannot be grasped by our perception, and painters have worked to release the invisible origin of the visible: light, the essence of the visibility. The role of the perceiving subject is then profoundly transformed as it becomes regarded as the active agent of the optical experience. The visible world, thus far a privileged shape of knowledge, is reconsidered according to the subjective characteristics of the eye. By becoming an object of knowledge, vision became associated to the fields of philosophy and experimental sciences. Most precisely, since the concept of light meets in their works such rich aesthetic problems which resonate with the artistic paradigms that belong to the history of painting, it is throughout an analysis of Mark Rothko’s and Pierre Soulages’s work that the research work has been focused in a second part.

Syftet med uppsatsen har varit att genom kvalitativa intervjuer lyfta fram motpolerna kringdagens konsumtion av digital underhållningsmedia och fastställa om konsumenters syn på värdekan relateras till deras val av att antingen betala för ägandet eller för tillgänglighet av den. Metoden har bestått av åtta stycken kvalitativa intervjuer där respondenter fått frågor om sinkonsumtion av digitala underhållningsmedia inom; musik, video, spel och podcasts. Uppsatsen kommer fram till att konsumenter ser värdet i användningen av mediet och inte iägandet av det. Konsumenterna vill således hellre strömma sin media än att ladda ner den. Deväljer därför mer eller mindre obehindrat den tjänst som har bäst utbud. Konsumenterna menardock att det i dagsläget finns en viss otrygghet i strömningstjänsterna. Otryggheten växer ju merengagemang mediet kräver, vilket gör att spel och video som enligt respondenterna var primäraaktiviteter, vilka kräver högre engagemang, har en tendens att hellre vilja laddas ner avkonsumenterna medan musik och podcast, vilka kräver lägre engagemang, sekundära aktiviteter, hellre strömmas. / Purpose/Aim: The purpose of the thesis was to examine if consumers perceived the value of digital media entertainment in the access of the media and/or the ownership of it. Material/Method: The material consisted of 8 qualitative interviews which was presented in anarrative form. The interviews investigated consumers digital media entertainment habits and inparticular if the consumers downloaded or streamed their content. Main results: Consumers perceived the value of digital media entertainment through the accessof it, value-in-use, rather than in the ownership of it, value-in-exchange. On the other hand, themore engaged the consumers were in their use of the media, the more concerned they were withdownloading the content rather than streaming it.

How did Romantic poets react to Wordsworth's preoccupation with immateriality, an illusion of poetic experiences in which the form of poetry itself becomes ironically unnecessary? To what extent is Romantic poetry involved with a counter-tradition of self-exposure, with an awareness of literary experience and meaning as essentially inseparable from its physical form? To address these questions, my dissertation looks in three directions: first, at the evidence of contradictions in Coleridge's lyric poems and, second, at Keats's reflexive alertness to the techniques that Wordsworth often uses to achieve the lyric effects of immediacy and, third, at the changing nature of the Romantic notions of the self and the materiality of text in the wake of Charlotte Smith's experiment with paratext. Chapter I explores the critical implications of Wordsworth?s emphasis on the mind and individual subjectivity, which involves a myth of Romanticism that genuine poetry can be attained when its production and existence in the material world become paradoxically invisible. Examining the publishing history of Coleridge's poems of poetic failure, and his conflicting motives for re-writing them, Chapter II argues that Coleridge's self-conscious poems have been considered, erroneously, in terms of a deeply private genre in which the poet describes a moment of personal crisis involved with the breakdown of his creative power. In Chapter III, I show how Keats debunks Wordsworthian notions of solitary authorship in the Hyperion poems via his persistent references to the act, artifice and materiality of writing. Reading Beachy Head as a challenge to the Romantic fiction of a unified self, Chapter IV argues that Smith's preoccupation with print apparatuses and discursive modes highlights her refusal to integrate the competing voices and styles she displays in the poem, preventing readers from easily associating the hybrid poetic persona with her earlier lyric ethos. Chapter V builds on the concept of hypermediacy, an awareness and artistic representation of mediation, in order to argue that the ways in which Coleridge, Keats and Smith represent the act, process and materiality of writing indicate a counter-tradition in Romantic literary culture that challenges the predominant Wordsworthian logic of immateriality.

Building upon previous research done on interactivity attributes describing the aesthetic quality of interactions, this paper aims to explore the sense of ow in screen-based interactions, narrowing down to the finer details that make the personality of the interactive experience. The goal is to provide a deeper knowledge on the concrete, expressive qualities of screen based interaction, being “the immaterial material” moulded in the design process. The relevant information for practicing designers is the awareness of what emotions certain interactions elicit and how interactions can be used to convey brand personality.The process conducted followed a research through design methodology, as the aim was to explore the defined design space rather than answer a specific problem. Two major user studies provided insights and refocus in the process along the way to the final result: a set of guidelines and a prototype embodying them. The guidelines provide some details on designing flow experiences on a mobile screen, and are to serve as inspiration and reference to future work and design practice. The prototype, called ‘The Embodiment’ serves as an illustration of the guidelines, as mere words are not able to fully describe the dynamic quality.

Il est désormais commun de reconnaître que le cinéma, aujourd’hui, s’émancipe de son dispositif médiatique traditionnel, adoptant maintes formes liées aux champs culturels qui l’accueillent : jeux vidéo, web, médias portatifs, etc. Toutefois, c’est peut-être le champ des arts visuels et médiatiques contemporains qui lui aura fait adopter, depuis la fin des années soixante, les formes les plus désincarnées, allant parfois jusqu’à le rendre méconnaissable. À cet effet, certaines œuvres sculpturales et installatives contemporaines uniquement composées de lumière et de vapeur semblent, par leurs moyens propres, bel et bien reprendre, tout en les mettant à l’épreuve, quelques caractéristiques du médium cinématographique. Basé sur ce constat, le présent mémoire vise à analyser, sur le plan esthétique, cette filiation potentielle entre le média-cinéma et ces œuvres au caractère immatériel. Pour ce faire, notre propos sera divisé en trois chapitres s’intéressant respectivement : 1) à l’éclatement médiatique du cinéma et à sa requalification vue par les théories intermédiales, 2) au processus d’évidement du cinéma – à la perte de ses images et de ses matériaux – dans les pratiques en arts visuels depuis une cinquantaine d’années, et 3) au corpus de l’artiste danois Olafur Eliasson, et plus spécialement à son œuvre Din Blinde Passager (2010), qui est intimement liée à notre problématique. Notre réflexion sera finalement, au long de ce parcours, principalement guidée par les approches esthétiques et philosophiques de Georges Didi-Huberman et de Jacques Rançière. / It is now common to acknowledge that cinema, today, is emancipated from its traditional media figure, adopting various forms related to the cultural fields that welcome it : video games, web, portable medias, etc. However, it is perhaps the visual and media contemporary arts that have morphed it, since the late sixties, into the most disembodied forms, even sometimes beyond recognition. To this end, some contemporary sculptures and installations only composed of light and steam seem, by their own means, to have adopted, and simultaneously put to the test, some characteristics of the cinematographic medium. Based on this observation, this paper aims to analyze, on an aesthetic level, this relationship between media-cinema and the nature of these immaterial artworks. To do so, our analysis will be divided into three chapters focusing respectively on : 1) the expansion of the cinema and its requalification as seen by intermedial theories, 2) the cinema’s loss of its images and materials in some visual art practices since the last fifty years, and 3) the artistic corpus of Danish artist Olafur Eliasson, and more precisely his work entitled Din Blinde Passenger (2010), which is intimately related to our subject matter. Finally, our reflection will mainly be guided by the aesthetic and philosophical approaches of Georges Didi-Huberman and Jacques Rancière.

This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it? By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.