Na tentativa de oferecer um caminho para a abertura de outras hipóteses na criação cénica atual, a lógica poética ideogramática assume-se aqui como ampliadora e multiplicadora do espectro de relações compositivas possíveis na criação artística e cênica. Entendendo a lógica poética ideogramática como possibilidade para uma prática criativa de organização e consciência gramática para potenciar a natureza poética da linguagem, é feita uma pesquisa histórica, teórica, conceitual e referencial, culminando num exemplo prático e concretizado do que pode ser a aplicação dessa lógica poética à criação cênica. / In an attempt to open a pathway to other hypothesis in current performative creation, the ideogrammatic poetic logic takes on the role of an agent capable of magnifying and multiplying the spectrum of possible compositional relations in the artistic and performative creation. In assuming that the ideogrammatic poetic logic is a possibility for the creative process of organization and grammatical consciousness to enhance the poetic nature of language, this research took on a historical, theoretical, conceptual and referential approach which culminated in a practical and concrete example of how this poetic logic may be applied to performative creation.

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.

Thesis (Ph. D.)--York University, 1998. Graduate Programme in Philosophy. / Typescript. Includes bibliographical references (leaves 299-306). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ39275.

Queer people and people of color are two groups that are exposed to much stereotyping and discrimination in the United States. When these two identity labels coincide they sometimes conflict. In this study, five queer persons of color were interviewed on their identities and their life stories, to find out how they create their identities through narratives, negotiating and rewriting the meanings of social categories. Using Johnson's Quare term as inspiration,and analyzing the data with the use of Riessman's performative narrative analysis and Muñoz's Disidentifications, I find several common tropes of identity creation and performance as well as practices of resistance and disidentification. I then discuss the word Queer as used by respondents to label practices and attitudes that can be considered disidentifying.

The Revolutionary Breath is praxis of conscious breathing and values awareness. I explore the transformative potential of this praxis through a method I call axio-somatic ethnography, which is an expansion of traditional autoethnography that de-centers identity and valorizes body-sensing as the foundation for authentic storytelling. The Revolutionary Breath is juxtaposed to the State Sponsored Breath, a constellation of physical and cultural habits and values. The Revolutionary Breath, itself, is composed of three Allowings, or conscious sensing practices, all framed within a commitment to the depth and ease of one’s breath. Throughout the dissertation, I use axio-somatic ethnography to present my own experiences of putting this praxis into use.

Our social world is increasingly chaotic. Perhaps there has always been chaos; but our increasingly globalized landscape and information economy seems to place chaos on the frontlines—as videos of military strikes in Iraq, or mundane narratives about making it through another day are available for consumption at any time. Our social world produces. The question: What to do with it all? This dissertation explores the concept of affect, using a collage methodology. To conduct an exploration of affect, which “transpires within and across the subtlest of shuttling intensities” (Seigworth and Gregg 2), this dissertation both explores and performs collage; taking collage as both an artifact for investigation using affect theory, as well as a methodological approach participating in the creation of affect theory. As a result of this commitment, the reader is invited to enter this document in any order they wish—reading directly through, or skipping around chapters as it suits them. As a method, collage operates through placing at least two different things next to each other, and then looking for similarities and differences. Each chapter explores differences by juxtaposing artifacts selected because of a similarity that they shared. Spatial (Harvey Butchart and the Havasupai Native Americans), methodological (the It Gets Better project and Ray Johnson), temporal (September 11, 2001 and September 11, 1973), or praxis-based (Chelsea Manning and Aaron Swartz) similarities guided the juxtaposition of artifacts within each chapter. In addition, each chapter explores a distinct version of affect theory to add to the collage created within and throughout this dissertation. Each chapter is a canyon, collected within the grand canyon of the dissertation as a whole. Ultimately, this dissertation is guided by both academic and artistic impulses. I seek to explore and produce affect theory through deploying the methodology of collage. Drawn to moments that often escape rational interrogation, this dissertation invokes echoes as evidence in order to mobilize a system of resonance through juxtaposition that realizes the power of collage: Establishing interpretive frames that refuse to be finished or fixed. Through the performance of collage methodology, this dissertation seeks to implicitly argue for rhizomatic knowledge systems as a method of resistance to structures of oppression via an aesthetic mobilization of collage.

Este trabalho se propõe pensar a fotografia performática. Embora esta noção não tenha sido ainda definida, é possível identificar em algumas obras de Eugène Atget, László Moholy-Nagy, Marcel Duchamp e Gordon Matta-Clark particularidades que me levaram a nomeá-las dessa forma. A tentativa de definir o conceito de fotografia performática assim como algumas reflexões sobre esses trabalhos a partir dessa definição, me permitiram abordar questões tais como o confronto da continuidade da percepção com a multiplicidade de uma visão não sintética, a impossibilidade da memória de completar mentalmente aquilo que não se apresenta como visível recorrendo a objetos semelhantes, o desconforto frente a situações que não conhecemos e a insatisfação de nossos hábitos visuais. Considerar a fotografia como ato, como atividade concreta, implica um posicionamento e uma intervenção no real, plausível de afetar diversos níveis da experiência humana. Uma ação impulsionada pela obra e intrínseca à formação de uma realidade estética, que questiona convicções, desmaterializa pontos de vista fixos, dissolve os a priori e aprofunda níveis de percepção. Mas ainda que nos coloque frente a alguns desafios, também nos permite, entre outras coisas, dotar as imagens fotográficas de plasticidade e assim tirar o aspecto fixo delas / This thesis is an approach towards thinking photography as performative. Although this concept not been defined yet, it is possible to identify certain aspects in some of the works of Eugène Atget, László Moholy-Nagy, Marcel Duchamp and Gordon Matta-Clark that lead to name it that way. Trying to outline the notion of performative photography as well as some considerations on the works of those artists based on that concept, allowed inquiring issues such as the confront between the continuity of perception and the multiplicity of a non-synthetic vision, the impossibility of memory to complete mentally that which does not present itself as visible unless having recurring to similar objects, the inadequacy we feel facing unknown situations and the non-satisfaction of our visual habits. Photography as an act, as a concrete activity, involves taking a position and interfering in reality, affecting several levels of human experience. An action driven by the work itself and intrinsic to an esthetic reality, that questions convictions, dissolves previous ideas and demands deeper levels of perception. Although it forces us to face some challenges, it also enables us to bestow plasticity to photographic images, thus removing their fixed condition

Este trabalho se propõe pensar a fotografia performática. Embora esta noção não tenha sido ainda definida, é possível identificar em algumas obras de Eugène Atget, László Moholy-Nagy, Marcel Duchamp e Gordon Matta-Clark particularidades que me levaram a nomeá-las dessa forma. A tentativa de definir o conceito de fotografia performática assim como algumas reflexões sobre esses trabalhos a partir dessa definição, me permitiram abordar questões tais como o confronto da continuidade da percepção com a multiplicidade de uma visão não sintética, a impossibilidade da memória de completar mentalmente aquilo que não se apresenta como visível recorrendo a objetos semelhantes, o desconforto frente a situações que não conhecemos e a insatisfação de nossos hábitos visuais. Considerar a fotografia como ato, como atividade concreta, implica um posicionamento e uma intervenção no real, plausível de afetar diversos níveis da experiência humana. Uma ação impulsionada pela obra e intrínseca à formação de uma realidade estética, que questiona convicções, desmaterializa pontos de vista fixos, dissolve os a priori e aprofunda níveis de percepção. Mas ainda que nos coloque frente a alguns desafios, também nos permite, entre outras coisas, dotar as imagens fotográficas de plasticidade e assim tirar o aspecto fixo delas / This thesis is an approach towards thinking photography as performative. Although this concept not been defined yet, it is possible to identify certain aspects in some of the works of Eugène Atget, László Moholy-Nagy, Marcel Duchamp and Gordon Matta-Clark that lead to name it that way. Trying to outline the notion of performative photography as well as some considerations on the works of those artists based on that concept, allowed inquiring issues such as the confront between the continuity of perception and the multiplicity of a non-synthetic vision, the impossibility of memory to complete mentally that which does not present itself as visible unless having recurring to similar objects, the inadequacy we feel facing unknown situations and the non-satisfaction of our visual habits. Photography as an act, as a concrete activity, involves taking a position and interfering in reality, affecting several levels of human experience. An action driven by the work itself and intrinsic to an esthetic reality, that questions convictions, dissolves previous ideas and demands deeper levels of perception. Although it forces us to face some challenges, it also enables us to bestow plasticity to photographic images, thus removing their fixed condition

Na tentativa de oferecer um caminho para a abertura de outras hipóteses na criação cénica atual, a lógica poética ideogramática assume-se aqui como ampliadora e multiplicadora do espectro de relações compositivas possíveis na criação artística e cênica. Entendendo a lógica poética ideogramática como possibilidade para uma prática criativa de organização e consciência gramática para potenciar a natureza poética da linguagem, é feita uma pesquisa histórica, teórica, conceitual e referencial, culminando num exemplo prático e concretizado do que pode ser a aplicação dessa lógica poética à criação cênica. / In an attempt to open a pathway to other hypothesis in current performative creation, the ideogrammatic poetic logic takes on the role of an agent capable of magnifying and multiplying the spectrum of possible compositional relations in the artistic and performative creation. In assuming that the ideogrammatic poetic logic is a possibility for the creative process of organization and grammatical consciousness to enhance the poetic nature of language, this research took on a historical, theoretical, conceptual and referential approach which culminated in a practical and concrete example of how this poetic logic may be applied to performative creation.

This thesis argues for performative ways to write trauma, ghosts and silence against the particularities of German post-war experiences. It begins with the re-discovery of a photographic image that provides a starting point. I unfold linguistically uncalibrated yet embodied knowledge into insecure or uncertain registers of traumatic intergenerational reverberations. Drawing on psychoanalytic theory of trauma, I chart a trajectory from individuated self towards one pledged on intersubjective conditions for an iteratively-emergent subjectivity. Trauma framed in terms of interrelational silence is woven into the material fixicity of the image, with its fleetingly evoked and fragmented slivers of memory. Positioned on the cusp of an inquiry that troubles the coherence of a subject-who-knows, I argue for an eruptive heterogeneity that speaks creatively to possible ways of re-presenting the significance and specificity of familial and national silence in the aftermath of an abject war. The discreetness of trauma, ghosts and silence is reconfigured in terms of an in-betweenness of generational reverberations; these echoes form the layers into and against which I write silenced, repressed and marginalized voices, voices shaped predominately by absence from dominant discourses. The transgressive nature of writing against the grain, of writing against the primacy of certainty is developed further through the chapters, mapping a complex methodological and theoretical possibility. I trouble notions of ‘data’ in light of contestations that favour ambiguous possibilities pertaining to hauntings and ghosts, aware of the paradoxical nature of linearly constructed arguments in support of fragmentary and fragmented knowledge claims. The complexities are further accentuated through texts written in different genres, which seek to mirror context and emergent content. The thesis builds into an enmeshment of reverberations within which space is given over to Other, drawing fictitious and fictionalized voices into contestations around narrativization and finitude.