SUTIS INVENÇÕES CURATORIAIS é uma montagem poética de acontecimentos colhidos na arte, na clínica e também onde elas se encontram e faíscam. Um maquinário estético-clínico que pretende dar a ver certos invisíveis, ilegíveis e indizíveis. Essa montagem reúne em três constelações curatoriais [CAIXA PRETA], [PONTO CEGO] e [SISMÓGRAFO] imagens, gestos e palavras, fabricações artesanais agitadas de um extremo ao outro, tremores na fronteira com a linguagem, segundo Deleuze. Invenções estéticas que constituem saberes, na forma de apreensão do mundo, na variação dos tempos e na apropriação das experiências, indagando o que essas imagens-gestos apresentam de um tempo e de uma força, na insistência em existir apesar de tudo, nas palavras de Didi-Huberman. Balizam esse trabalho os conceitos de inoperância proposto por Agamben com o intuito de nos ajudar a desmanchar a exigência de respostas na chave da eficiência/eficácia, funcionalidade ou completude e de rememoração, de Benjamin, convocado pelas narrativas menores, lacunas da história, que na opacidade podem cintilar devires. Uma montagem poético-curatorial que joga com a ideia de curadoria em arte e cuidadoria (do cuidado) em saúde, reunindo gestos, imagens e narrativas que surgem de uma sobrevivência a prescritivos modos de vida, resistindo aos ideais de cura e de protocolos existenciais normatizantes. / SUBTLE CURATORIAL INVENTIONS is a poetical assembly of events harvested from art, clinic and at points where art and clinic meet and sparkle. It is a aesthetic-clinic machinery created in order to show some invisibles, illegibles and unspeakables. This assembly reunites in three curatorial constellations [BLACK BOX], [BLIND SPOT] and [SEISMOGRAPH] images, gestures and words, artisanal manufactures wiggled from one end to the other, quivering at the edge of language, according to Deleuze. Aesthetical inventions that constitute knowledge, forms of world-apprehension, variation in time and appropriation of experiences, inquiring as to what these images gestures present from a time and a strength, insisting on existing in spite of everything, to quote Didi-Huberman. This work is constructed upon the concept of inoperability proposed by Agamben aiming at helping us to dismantle the demand for answers on the key efficiency/efficacy, functionality or completeness and the concept of remembrance, from Benjamin, evoked by smaller narratives, history gaps, that in opacity may twinkle becomings. A poetic-curatorial assembly which plays with the concepts of curatorship from art and careship from care in health, gathering gestures, images and narratives that come from surviving prescriptive ways of living, resisting ideals of cure and normalized existential protocols.

SUTIS INVENÇÕES CURATORIAIS é uma montagem poética de acontecimentos colhidos na arte, na clínica e também onde elas se encontram e faíscam. Um maquinário estético-clínico que pretende dar a ver certos invisíveis, ilegíveis e indizíveis. Essa montagem reúne em três constelações curatoriais [CAIXA PRETA], [PONTO CEGO] e [SISMÓGRAFO] imagens, gestos e palavras, fabricações artesanais agitadas de um extremo ao outro, tremores na fronteira com a linguagem, segundo Deleuze. Invenções estéticas que constituem saberes, na forma de apreensão do mundo, na variação dos tempos e na apropriação das experiências, indagando o que essas imagens-gestos apresentam de um tempo e de uma força, na insistência em existir apesar de tudo, nas palavras de Didi-Huberman. Balizam esse trabalho os conceitos de inoperância proposto por Agamben com o intuito de nos ajudar a desmanchar a exigência de respostas na chave da eficiência/eficácia, funcionalidade ou completude e de rememoração, de Benjamin, convocado pelas narrativas menores, lacunas da história, que na opacidade podem cintilar devires. Uma montagem poético-curatorial que joga com a ideia de curadoria em arte e cuidadoria (do cuidado) em saúde, reunindo gestos, imagens e narrativas que surgem de uma sobrevivência a prescritivos modos de vida, resistindo aos ideais de cura e de protocolos existenciais normatizantes. / SUBTLE CURATORIAL INVENTIONS is a poetical assembly of events harvested from art, clinic and at points where art and clinic meet and sparkle. It is a aesthetic-clinic machinery created in order to show some invisibles, illegibles and unspeakables. This assembly reunites in three curatorial constellations [BLACK BOX], [BLIND SPOT] and [SEISMOGRAPH] images, gestures and words, artisanal manufactures wiggled from one end to the other, quivering at the edge of language, according to Deleuze. Aesthetical inventions that constitute knowledge, forms of world-apprehension, variation in time and appropriation of experiences, inquiring as to what these images gestures present from a time and a strength, insisting on existing in spite of everything, to quote Didi-Huberman. This work is constructed upon the concept of inoperability proposed by Agamben aiming at helping us to dismantle the demand for answers on the key efficiency/efficacy, functionality or completeness and the concept of remembrance, from Benjamin, evoked by smaller narratives, history gaps, that in opacity may twinkle becomings. A poetic-curatorial assembly which plays with the concepts of curatorship from art and careship from care in health, gathering gestures, images and narratives that come from surviving prescriptive ways of living, resisting ideals of cure and normalized existential protocols.

Approved for public release; distribution is unlimited / Reissued 30 May 2017 with Second Reader’s non-NPS affiliation added to title page. / The United States has made use of economic sanctions to achieve political goals by limiting the relationship between trade, travel, and finance. However, economists are uncertain if the use of economic sanctions is effective and achieves the desired results. Applying the notion of demand-based inoperability, we present two nonlinear models to identify the optimal placement of sanctions and assess the sanctions' cascading effects to all sectors of an adversary's economy. For purposes of demonstration and validation, we pose a hypothetical scenario in which the U.S. considers trade sanctions on Canada. Specifically, our analysis proposes the Trade Sanction Inoperability Input-Output Model (TS-IIM). We devised this model to permit ranking of sectors by the order in which the greatest production loss occurs. Given the strong dependence of Canada on the United States, is it reasonable to expect that a sanction could result in economic repercussions? In response to this question, we also present the Inter-Country Inoperability Input-Output Model (IC-IIM), which extends the TS-IIM by considering the reduction in trade in value added (TiVA) the U.S. economy will experience. Our results from the TS-IIM and IC-IIM lead us to conclude that the proper design of a sanction considers not only the impact to an adversary's economy, but also sanction's associated repercussions at home. / Lieutenant, United States Navy