L'animation est« l'art de se servir des interstices invisibles entre les images». Le cinéaste Norman McLaren souligne ici que la construction du mouvement dépend d'une pratique du dessin de recherche, dont n'est restituée à l'écran que la forme aboutie. Une réflexion s'engage au sujet des processus créatifs d'un cinéma d'animation « d'atelier », fondé sur une démarche expérimentale. Ouvert lors de la réalisation de chaque photogramme, « l'interstice invisible » désigne le chantier de création dans lequel la pratique artistique et le développement filmique sont interrogés. Durant la réalisation, les cinéastes plasticiens font régulièrement « l'expérience de l'interstice » en questionnant leurs dess(e)ins. De nouvelles formes visuelles et narratives peuvent émerger d'une telle démarche, qui favorise les tensions dialectiques tout en encourageant les lignes d'invention : le fixe rencontre l'animé, la fiction se mêle au scénario poïétique et les supports s'entrelacent. Une poétique de la tresse se construit alors. Cette thèse propose de caractériser et de raconter le parcours de recherche du cinéaste plasticien, ainsi que de définir sa ligne de conduite. Il s'agira d'identifier les formes tressées qu'il élabore, jusqu'à émettre des propositions conceptuelles, telles que des « illustrations filmées » ou des matières «ectoplastiques ». Le cinéma d'animation plasticien pourra être défini à cette occasion autour d'une pensée du «tiers» ou du « dehors ». La thèse adopte une ligne de création-recherche, fondée sur des relations entre théorie et pratique, qui favorisent le croisement d'expériences artistiques et d'exercices de pensée. / Animation is «the art of manipulating the invisible interstices that lie between frames». Animator Norman McLaren explains that building movement depends on a research practice, that we can only see the result on screen. An experimental cinema can be defined from his comment. The « invisible interstice » opens with the creation of each new image, and so does the creative disorder, that goes along with questioning the artistic practice and the film development. During production, animators experiment the interstice. New narrative and visual forms can emerge from such an approach, which stimulates dialogues and invention : fixed pictures meet moving pictures, fiction crosses creative development, and media interlace. A poetic of the braid builds itself. This PhD proposes to characterise and tell the creator's explorative journey, and to define his process. We will identify the enlaced forms he creates, and we will propose concepts such as « filmed illustrations » and «ectoplastic» material. Experimental cinema will be defined as a « third » or an « out » cinema. This PhD adopts a line of creation and research, based on a continuous relationship between artistic experiences and theory.

Cette thèse interroge la/les réalité(s) des lieux culturels intermédiaires. Ces derniers, appelés aussi Nouveaux Territoires de l'Art, friches culturelles ou lieux alternatifs apparaissent comme mouvants, difficilement saisissables. L'enquête qui s'est déployée au sein de quinze lieux en France révèle cette diversité en termes de statuts, de tailles de bâtiment ou de modes de fonctionnement. Toutefois, le postulat est celui qu'au-delà des singularités, un espace du commun se dégage, s'actualisant à un niveau géographique tout en faisant valoir des éléments symboliques. Si le point de départ de la réflexion se résume à un seul mot : lieu, il est précisé par la notion d'expérience. En effet, en questionnant la dimension expérientielle, peuvent se saisir les différentes lignes significatives qui traversent les lieux. Ces derniers se constituent au travers d'une double dynamique définie par la tension entre inscription et subversion. L'expérience du lieu associe les individus impliqués au sein d'une démarche collective à la fois chaotique et formalisée. L'agencement collectif et les conditions de l'expérience sont le cadre du développement d'arts de faire, de tactiques, d'une pratique du bricolage qui définissent le lieu comme une institution en mouvement. Entre pragmatisme et expérimentation, le lieu culturel intermédiaire témoigne d'une altérité dans le territoire. Le désir de lieu, à l'origine de ces expériences, est en fait un désir de ville et de culture. Le lieu s'inscrit dans le territoire en tissant des relations avec les habitants et en devenant une ressource au niveau culturel. Pourtant, dans le même mouvement, le territoire est subverti, les modes de faire et penser la culture sont remis en cause et du désordre est porté dans la ville. Ainsi, ces lieux apparaissent comme des interstices qui ouvrent des questions politiques, du niveau individuel (émancipation) au niveau territorial (démocratie locale). / This thesis interrogates the realities of the cultural intermediate places. These, also called art's new territories, cultural wastelands or alternative spaces, appear hardly apprehensible. The investigation unfolded within fifteen places in France reveals the diversity in terms of statutes, buildings size or ways of operating. However, the assumption is that beyond singularities, a common space emerges, actualizing itself in a geographical level. This common space highlights symbolic elements. The starting point of the question boils down to one word: place, specified by the notion of experience. Indeed, by questioning the experiential dimension, we can capture the different significant lines that cross the places. These are formed through a double dynamic defined by the tension between inclusion and subversion. The place's experience links the involved individuals in a collective approach which is both chaotic and formalized. The collective layout and the experience conditions are the framework of the development of arts to do, tactics, of a DIY practice defining the place as an institution in motion. Between pragmatism and experimentation, the cultural intermediate place shows a kind of otherness in the territory. The original desire of place is actually a desire of city and culture. By the links with the inhabitants, the territory includes the place. This one becomes a cultural resource. Yet, in the same movement, the territory is subverted, the ways of doing and thinking about culture are challenged and disorder is brought into city. Thus, these places appear as interstices that open political issues, from individual level (emancipation) to territorial level (local democracy).

Né en Tunisie, ayant passé son enfance en France, ayant enseigné la littérature comparée à l’Université York de Toronto, au Canada anglophone, Hédi Bouraoui s’est trouvé au carrefour de trois cultures, et cela a marqué son œuvre littéraire. Croyant dans le « transculturalisme », c’est-à-dire en un réel dialogue entre les cultures, ce poète et romancier en est venu à écrire entre les cultures, entre les genres et entre les langues. Selon lui, c’est le poétique qui dans l’œuvre littéraire permet le mieux ce type d’écriture ouverte, par laquelle l’écrivain ne se replie pas sur lui-même et sa culture d’origine, mais écrit en symbiose avec toutes les diversités qu’offre le monde. Qu’est-ce que cette poétique de l’interstice a d’original dans l’univers de la littérature francophone d’aujourd’hui ? Que lui apporte-t-elle ? En quoi se démarque-t-elle des préoccupations collectives ou individuelles des écrivains et poètes du mouvement de la négritude ? En quoi se démarque-t-elle aussi, par exemple, de la théorie du « Tout Monde » du poète Edouard Glissant ? Cette poétique de l’interstice en vient à favoriser une écriture de la connivence entre poètes dans le recueil Livr’errance, mais aussi entre l’écrivain et ses lecteurs. Ce désir de connivence dans la création comme dans la réception de l’œuvre littéraire n’est-il pas, même en partie, utopique ? Enfin, Hédi Bouraoui estime que, dans son œuvre, c’est le poétique qui permet le mieux de réaliser une écriture de l’interstice ainsi définie. C’est le poétique qui voyagerait le plus facilement dans les autres genres littéraires. Pourtant le récit vient souvent se glisser dans le poème au sein de son œuvre. Ne s’impose-t-il pas parfois à lui ? De même, le théâtral ne vient-il jamais s’immiscer dans ses récits transpoétiques, dans le conte transpoétique, dans la poésie même ? Faut-il analyser seulement l’œuvre d’Hédi Bouraoui sous l’angle d’une transpoétique, ou également sous l’angle de ce que l’on pourrait nommer une trans-narrativité et une trans-théâtralité ? / Born in Tunisia, having past its childhood to France, and having taught the comparative literature with the York University of Toronto, in Ontario, in Anglophone Canada, Hedi Bouraoui was with the crossroads of three cultures, and that mark its literary work. Believing in the “transculturalism”, in a real dialogue between the cultures, this writer came from there to write between the cultures, the literary kinds and the languages. According to him, it is the poetic one which in literary work allows best this kind of writing opened, by which the writer is not folded up on itself and its culture of origin, but written in symbiosis with all diversities which offers the world. What this does poetic of the interstice have of original in the universe of the French-speaking literature of today ? What does they brought to him ? In what she does dissociate collective or individual concerns writers and poets of the movement of the negritude ? In what also she does dissociate herself, for example, of the theory of the “whole world” of the poet Edouard Glissant ? This poetic of the interstice comes from there to support a writing in complicity between poets in Livr’errance, but also between the writer and his readers. This desire in complicity in creation as in the reception of literary work isnt’it, even partly, utopian ? Lastly, Hedi Bouraoui estimates that in its work, it is the poetic one which makes it possible best to carry out a writing of the interstice thus defined. It is the poetic one, in particular, which would travel most easily in the other literary kinds? However the account often comes to slip into the poem within its work. Isn’t it essential sometimes on him ? In the same way, the theatrical one does never come to be involved in its accounts transpoetic, in the tale transpoetic, poetry even ? Is it necessary to analyze only the work of Hedi Bouraoui under the angle of “transpoétique”, or also under the angle of what one could name “trans-narrativité and a trans-theatricalness”?

Le diagnostic de Rem Koolhaas sur les métropoles actuelles montre une ville générique, sans fin, sans identité, sans passé, sans rues, la seule activité qui reste est le shopping et la condition « in-transit » devient universelle. À cette analyse manque une partie très importante, la condition biopolitique de la métropole, qui expliquerait plusieurs des caractéristiques de ce Junkspace, comme le fait qu’il contient la possibilité de résistance face au générique. À la lumière de ce constat et suivant les directions de pensée que Gilles Deleuze et Félix Guattari ouvrent dans Mille Plateaux, cette thèse propose d’identifier les intervalles témoignant de la dimension biopolitique du Junkspace au travers d’une mobilisation de la théorie des agencements comme hypothèse pour la théorie architecturale et urbaine. Le postulat général est que ces intervalles seraient des territoires entre-deux qui fonctionneraient comme des laboratoires d’agencements témoignant d’une pratique architecturale politique redéfinissant le rôle même de l’architecte. Trois axes de recherche sont déployés. Le premier interroge la pertinence d’une pensée architecturale en termes d’agencements dans le contexte des transformations actuelles des territoires. À la suite d’un croisement avec la pensée de Deleuze et Guattari l’architecture se comprend dans son processus d’agencement et réagencement. Le second axe interroge la dimension biopolitique du Junkspace identifiant les points critiques de ses agencements et évaluant le paradoxe de l’entre-deux. Le troisième axe met à l’épreuve le potentiel des territoires entre-deux de créer des opportunités pour de nouvelles configurations spatiales. / Rem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition. In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect. Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations.

With historic ruins as a project vehicle, this thesis investigates connections to an existing structure through materials and spatial relationships. The proposed intervention, guided by design elements and preservation methods, reflects a sensitive approach and provides a transition between our built heritage and an adapted form of architecture. / Master of Architecture

A discussion concerning the frame, foundation, midsection and stair of the Odd Fellows Lodge. Influenced by the precedents of rural Virginia's pragmatic building techniques and the personal and poetic work of architect Carlo Scarpa, the interventions to the Lodge maintain its gentle existence while asserting a new presence as an introduction to downtown Blacksburg. / Master of Architecture

The idea of two elements overlapping to create a third element is a very simple idea, yet one imbued with possibility. It can be as simple as two colors combining to create a new color: yellow + blue = green. This new, third element can stand alone, but it always retains traces of the two original elements. This third element is enriched by the two primary elements, and they, in turn, are enriched by this connection. 1 + 1 = 3 The place where two elements come together can become an integral part of both elements. It can become a central space where ideas meet and intermingle. In such a way, a school of architecture and design centers around its studio. The studio is, for the student, the place where living and learning come together. Here, the practicality of materials meets the theoretical concepts of the classroom. It is often, quite literally, "home away from home" for the student, who spends many hours working on studio projects, gathering with students and faculty, trying to bring design theories into practice. With this idea in mind, a Girls' School of Design is postulated. / Master of Architecture

This paper highlights street art in the social movement in Sudan and the role of murals andpolitical graffiti in relation to the Sudanese revolution of 2019. Characteristic for thismovement is the appearance of murals depicting the events of the revolutions. In particular,the colourful graffiti during the Sudanese uprisings of 2019 has been a crucial element in thesocial movement in the country.This study explores role of graffiti, its function as an art of resistance and as a communicationmedium during Sudanese movement, how graffiti contributes to Sudanese revolution 2019.Sudanese graffiti creates a profound understanding of the social transformation in Sudan,including most important events after revolution such as the third of June massacre inKhartoum and the political process and solidarity against discrimination. It establishes asocial relational space that ranks high values on collaboration and sharing significance, aswell introduces emancipatory alternative for better future in Sudan.The study uses four-dimensional analytical framework including graffiti as communicationtool, illegality and call for place, visual and verbal language, and graffiti as a public memory.Furthermore, it uses critical discourse analysis method through utilizing three-dimensionalframework including text, discursive practice, and sociocultural context. At the same time, thestudy uses telephone interviews method and photo-elimination method as data collectionmethods and encompassing structure for the research.

A cidade de São Paulo é planejada, projetada, construída e apropriada a partir da lógica dos \"edifícios\", em detrimento de interstícios urbanos e suas potencialidades latentes. É lançada a hipótese de que a cidade, se produzida a partir de infraestruturas intersticiais embasadas por parâmetros morfológicos, ambientais e sociais, resulta em ambientes urbanos de maior qualidade para as pessoas. O objetivo da tese é, portanto, avaliar interstícios urbanos típicos da cidade existente e, a partir disso, desenvolver, analiticamente, e aplicar, propositivamente, ferramentas e parâmetros de planejamento e desenho urbano para a construção de efetivas infraestruturas intersticiais a requalificarem a cidade, com foco em territórios com potencial de transformação urbana. O método é empírico, analítico e especulativo, articulando Trabalho de Campo, Trabalho Analítico e Trabalho Propositivo, embasados teoricamente. Enfim, a contrapelo da legislação e prática vigentes, e a partir da aplicação dos parâmetros morfológico-ambientais-sociais propostos pela tese, são especulados futuros alternativos à cidade de São Paulo, legitimando e comprovando o papel infraestrutural de interstícios urbanos na requalificação da cidade. / The city of Sao Paulo is planned, designed, built and used from the perspective of \"buildings\" to the detritment of the urban void and its latent potentialities. It is hypothesized that the city, if produced from interstitial infrastructures based on morphological, environmental and social parameters, results in higher quality urban environments for people. The aim of the thesis is therefore to evaluate typical urban interstices selected in the existing city and to evolve, analytically, and to apply, prospectively, innovative tools and parameters for urban planning and design, seeking the construction of effective interstitial infrastructures to requalify the city, with a focus on territories with potential for urban transformation. The method is empirical, analytical and speculative in the way that articulates Fieldwork, Analytical Work and Prospective Work, theoretically based. Ultimately, against the prevailing urban regulation and practice, and from the application of the morphologicalenvironmental-social parameters proposed by the thesis, alternative futures are speculated to the city of São Paulo, legitimating and proving the infrastructural role of urban interstices in the requalification of the city.

While an extensive body of research exploring professional discourse exists, research investigating off-task talk within workplaces has been relatively side-lined. To better understand the possible functions of personal interstices layered between institutional goal-oriented talk, this study examines instances of self-disclosure that emerged from 34 hours of authentic interactions recorded at three Canadian workplaces. Using conversation analysis, 87 self-reference, self-disclosure declaratives were identified. Of those, 21 occurred within reciprocal sequences between two participants. Similar to a second story telling found in ordinary conversation (Sacks, 1992a), the second speaker’s self-disclosure reflects the first speaker’s, both in content and form, and is often an upgraded version of the initial disclosure. This pattern and in-meeting placement suggest that these types of personal interstices may be a mechanism for displaying co-worker empathetic affiliation. Additionally, hierarchical role relations and institution goals may be temporarily suspended or back-grounded during these sequences.