This study aims to define design poetics as a category of design practice set apart from commercial, industrial or market-led design that generates a collection of experimental artefacts which investigate the everyday life of contemporary culture. It is argued that in creating an active interplay between users (human agents) and objects, poetic design involves a different kind of production (which is not about improving the functionality of a product) and alternative forms of "consumption" (which is not about a 'using up' of objects), by developing new practices of living with things. As such it is suggested that design poetics depends on the production developed by consumers as a creative users (postproducers), within unconventional experiential and social scenarios of living. In changing the bilateral relationship object-user poetic design develops objects from the point of view of the user - its activities and models of operation - and this aspect is related to an emotional and experiential evaluation. Thus the study proposes a re-evaluation of objects and users through experiential, narrative and performative criteria in order to understand their various roles and functions. In proposing these particular points of evaluation, poetic objects are distinguished as a particular category of objects together with the practices they engender or support; and within a network of relationships and contexts, as specific sites of interaction.1 In this light, it is shown that poetic design proposes a class of objects that respond to needs beyond the objects' instrumental (functional, practical) power; but to their contribution to life experience, embodying a variety of processes and manifestations. They translate immaterial interactions and make these interrelations visible.

This study seeks to analyze the performative activism and political performance that took place during the Black Lives Matter protests between May and November of the year 2020. Various points of view perceive such acts as merely reductive or otherwise worthy of disdain, however, this study seeks to analyze these acts to identify different components within each performance. The primary focus is to further understand the advantages and disadvantages of performative activism and political performance. This research concentrates on examining the significant social and political impacts of these performances and their symbolic nature. This study also evaluates how discourse related to marginalized communities enters the public sphere and influences it. This study will include the analysis of performance via social media platforms, such as Instagram and Twitter during the 2020 resurgence of Black Lives Matter, including performances carried out by political leaders along the 2020 U.S. presidential campaign trail. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

This diploma thesis called 'Performative Power and Terrorism in Europe in the 2010s', deals with the evolution of terrorism, counterterrorism and the use of the theory of performative power, as coined by Beatrice de Graaf in 2010. Since the recent attacks in Paris (13th of November 2015) and Nice (14th of July 2016), terrorism has become a hot topic again for both scholars and policymakers. De Graaf has provided a schedule of fourteen signifiers in order to measure the performativity of authorities, and the extent to which they are capable of influencing public fears and opinion when it comes to terrorism. A schedule that should concretise the way in which theory can be 'translated' to practice. By means of two case studies, regarding the terrorist attacks mentioned above, the theory and its signifiers will be analysed. The result of this analysis was stunning. This paper argues the theory and the signifiers are partially flawed and anachronistic. Although De Graaf considers her theory to be universal, the research conducted in this document reveals shortcomings and proves it does not stand the test of time. In order to make performative power and the signifiers time-resistant it has to be altered. Recommendations are therefore provided at the end of this paper.

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This essay examines the limitations of societal gender norms and expectations of the late nineteenth-century and how the fictional character Ántonia Shimerda adheres to and fails to conform to them. In nineteenth-century America men and women were divided into two different spheres. Women were expected to stay within the four walls of the home and take care of cooking, housekeeping and raising the family’s children. The home was believed to be the only place where a woman could be truly happy. However, in the novel Ántonia proves that women can be happy performing physically demanding tasks outside of the expected sphere for women. To explore Ántonia’s gender fluidity this essay focuses on gender expectations and norms in the historical setting of the novel and analyzes the reasons for her to abandon her gender and the consequences this has in her life. The representation of a character that both adheres to and fails to conform to the nineteenth-century gender perceptions indicates the performative nature of gender. Cather creates a fluid gender in Ántonia, who proves to be both an independent and strong character that clearly illustrates the limitations of rigid gender norms.

This thesis discusses performative identity in Djuna Barnes' The Ladies Almanack and Nightwood. Barnes' characters create and perform their identities as an attempt to escape or subvert patriarchal norms and societal prejudices. In analyzing the marginalized performative identity categories (race, class, gender, sexuality), one can glean an understanding of the complex social tensions present during Barnes' era, and understand the socially constructed, confining nature of identity itself.

Among all contemporary world's discourses that influence environmental design profession, sustainability appears to be a dominant and compelling narrative. The developing trajectory of sustainability in architecture seems to suggest an antinomy paradigm, a contradiction or inconsistency between two apparently reasonable principles or laws i.e. sustainability and aesthetics. As a result, emerging sustainable design requires an accompanying set of aesthetics which serve as design guidance and evaluation tool. Literature review of philosophy and designing profession realize three kinds of alternative aesthetics i.e. environmental, ecological, and performative aesthetics. The thesis argues that this alternative set of sustainable aesthetics provides a theoretical basis for the practical design of a built environment for eco-tourism. The thesis focuses on analyzing the implication of those aesthetics to sustainability in regards to design of ecolodges. Eco-tourism is one of the emerging pragmatic options of sustainable development and to consume ecotourism is to consume aesthetic experience. By reviewing and analyzing the case studies of ecolodge, this thesis provides the design features and strategies which are argued to integrate beauty and sustainability. The thesis also applies the findings to demonstrate the usefulness of aesthetic approach to sustainable design in one specific design proposal, Floating Bamboo Ecolodge in Halong Bay, Vietnam. / text

This thesis explores the structure and delivery of education programs to justice-involved adults in Canadian federal prisons and in the community. A series of semi-structured interviews as well as three volumes of the Journal for Prisoners on Prisons were analyzed using a qualitative approach to determine whether or not principles of adult education and components of performative space are present in current correctional education strategies. The findings suggest that while there are occurrences of both elements in the education that is provided to prisoners, the programs in the community are much more reflective of these adult learning standards. This project highlights the need for research into the area of adult correctional education, increased collaboration between the fields of criminology and education, and provides a framework from which future research can continue.

Este estudo busca analisar alguns trabalhos da cena contemporânea de Fortaleza, que discutem de algum modo as questões de gênero e reconfiguram seus padrões de representação. O foco da pesquisa é o que chamaremos de cena performativa-política, com suporte teórico dos estudos do teatro contemporâneo e da performance, da teoria queer e da filosofia. Nesse sentido procuraremos estabelecer relações entre nossos objetos e o pensamento de autores distintos dos campos dos estudos performativos e de gênero, como Taylor, Fischer-Lichte, Caballero, Dubatti, Turner, Butler, Preciado, Halberstam, Louro, Gadelha, Martins, Leal, Coelho; além de filósofos como: Foucault, Artaud, Agamben e Didi-Huberman, para citar alguns. Num primeiro momento, procuraremos situar nossa pesquisa a partir do que propõem alguns desses pensadores em relação ao contexto nacional e local, sobretudo a partir do diálogo com pesquisadores como Ramos, Fernandes, Mostaço, Yamamotho, Castro, Costa e Honório, por exemplo. Num segundo momento, analisaremos as \"respostas gays\" pelo teatro, sobretudo a partir dos anos 1970, com foco na análise do espetáculo Caio e Léo, encenado pelo Outro Grupo de Teatro. Em seguida, buscaremos ver como se desconstroem imagens do chamado \"universo feminino\" em algumas encenações e sobretudo no espetáculo Corpornô, da Cia. Dita. Por fim, observaremos a criação de \"transtopias\" e remixagens no trabalho do coletivo As travestidas, com foco na encenação de BR-Trans. Ao longo dos capítulos, teremos uma seção de provocações críticas e, ao final, buscaremos responder à questão sobre como esses processos (e os demais vistos brevemente) podem reagir à heteronormatividade / This study aims to analyze some works from the Fortaleza´s contemporary scene, which discuss gender issues and reconfigure its patterns of representation in any way. The focus of this research is what we will call a performative-political scene, with theoretical support from studies of contemporary theater and performance, queer theory and philosophy. In this sense, we will try to establish relations between our objects and the thought of different authors from the performative ande gender areas, such as: Taylor, Fischer-Lichte, Caballero, Dubatti, Turner, Butler, Halberstam, Louro, Gadelha, Martins, Leal, Coelho; and philosophers as: Foucault, Artaud, Agamben and Didi-Huberman. to name a few. At first, we will seek to situate our research from what some of these thinkers propose in relation to the national and local context, especially from the dialogue with researchers such as Ramos, Fernandes, Mostaço, Yamamotho, Castro, Costa and Honório, for example. In a second moment, we will analyze the \"gay answers\" by the theater, especially from the 1970s, focusing on the analysis of the play Caio and Léo, staged by Outro Grupo de Teatro. Then, we try to see how images of the so-called \"female universe\" are deconstructed in some scenarios and especially in the performance Corpornô, by Cia. Dita. Finally, we will observe the creation of \"transtopias\" and remixes in the work of the collective As travestidas, focusing on the staging of BR-Trans. Throughout the chapters, we will have a section of critical provocations and, in the end, we will try to answer the question about how these processes (and the others seen briefly) can react to heteronormativity.