Ce mémoire porte sur la question de la relation entre l’imagination et la perception d’un point de vue phénoménologique. Husserl prend ses distances par rapport aux modernes en concevant l’imagination comme un mode intentionnel de la conscience et non comme une perception de faible intensité. L’ « image mentale » (ou phantasia) demeure cependant assujettie au travail de la perception. Tirant sa matière dans la perception, l’imagination (Phantasie) en neutralise le caractère de croyance et présentifie ses objets dans un domaine d’expérience parallèle à celui de la perception que Husserl nomme « l’irréel ». Sartre radicalise cette séparation entre le réel et l’irréel (ou la perception et l’imagination) en concevant l’imagination à partir de la spontanéité de la conscience, laquelle justifierait sa liberté absolue, alors que la perception demeurerait pure passivité. Merleau-Ponty, opère au fil de son oeuvre un renversement graduel de cette position antithétique. Analysant l’expérience perceptive à partir du corps propre à travers le prisme de la Gestaltpsychologie, perception et imagination apparaissent comme deux consciences qui s’interpénètrent. Leur empiètement, que Merleau-Ponty repère dans la notion d’« inconscient corporel », se manifeste le plus clairement dans l’étude de la psychologie enfantine et dans des expériences comme le rêve, l’hallucination et l’illusion. Le but de notre mémoire est donc double : d’abord, nous présentons un aperçu historique de la phénoménologie de l’imagination et de la perception chez Husserl et Sartre; ensuite, nous mettons en valeur la thèse merleau-pontienne de l’empiètement entre imagination et perception sur les plans phénoménologiques et ontologiques et les avantages qu’elle présente par rapport à celle de ses prédécesseurs. / This Master's thesis deals with the question of the relation between imagination and perception from a phenomenological standpoint. Husserl distances himself from his modern predecessors by conceiving imagination as an intentional mode of consciousness and not as a perception of low intensity. However, the « mental image » (or phantasia) remains subject to the work of perception. Drawing its matter from perception, imagination (Phantasie) neutralizes its character of belief and presents its objects in a domain of experience conceived as running parallel to that of perception, namely what Husserl calls "the unreal". Sartre radicalizes the separation between the real and the unreal (and accordingly that between perception and the imagination) by conceiving the imagination as stemming from the spontaneity of the consciousness, which would justify its absolute freedom, whereas the perception would remain pure passivity. In the course of his work, Merleau-Ponty operates a gradual reversal of this antithetical position. Analyzing experience from the perspective of the living body (corps propre) through the tools of Gestaltpsychology, perception and imagination appear as two consciousnesses that interpenetrate. Their encroachment, which Merleau-Ponty identifies in the notion of "bodily unconscious", is most clearly manifested in the study of child psychology and in experiences such as dreaming, hallucination and illusion. The purpose of our dissertation is thus twofold: first, we present a historical overview of the phenomenology of imagination and perception in Husserl and Sartre; second, we highlight the Merleau-Pontian thesis of the encroachment between imagination and perception on phenomenological and ontological levels and the advantages it has over that of his predecessors.

Drawing on the ideas of J.G. Fichte and M. Merleau-Ponty, I argue that experience and freedom are intersubjective, linguistic, and bodily. In the first chapter, I take up Fichte's three "fundamental principles" from the Science of Knowledge alongside his ideas of embodiment and intersubjectivity from the Foundations of Natural Right to show that all experience is an indefinite mixture of self and not-self, and, therefore, that both the experiences of self-consciousness and its freedom must also be accomplished with reference to the not-self, and particularly others. The second chapter is an examination of Merleau-Ponty's account of expression in his Phenomenology of Perception. The key insight I pursue here is that the medium of expression, which makes possible all significance, is bodily and intersubjective, and that any expressive act is therefore both self-opaque and soliciting cooperation. In the end, I turn to how this cooperation, i.e. freedom, should be enacted.

This thesis examines the implementation of an actor-training programme in the context of Spanish drama schools during 2004-2005. Reflecting through the student's practice as well as my own practice as a teacher, actor and director, I investigate how a bodymind training based on martial arts disciplines and designed by Phillip Zarrilli may contribute to understand the theory and the practice of an actor's use of the imagination as Michael Chekhov proposes it. Core questions arise from the evaluation of what is the professional knowledge that the integration of both systems of training brings to the students. The action of research is placed in how the process of learning such competencies take place and become informative of both the research and the acting practice. The concept of acting is being analysed by looking at the significance of the actor's imagination from a phenomenological rather than a psychological perspective. The discussion includes the challenge that developing a new pedagogy in a drama school brings up to a better understanding of contemporary paradigms of theatre practice and education.'Interpretación Gestual' is since 1992 an established branch in the Real Escuela Superior de Arte Dramático de Madrid (RESAD). Acting in physical (gestural) theatre conveys some problematic issues concerning its theory and practice within both professional and pedagogical contexts. Implementing a new and specific teaching programme for the preparation of professional actors in the context of the RESAD urges me to clarify inpractice certain issues about these two different approaches to actor training, as well as their presence in today's education within the curriculum of official drama schools in Spain.

With the outbreak of COVID-19, the Swedish government allocated specific financial support to cultural practitioners, however, excluding curators from this assistance. As a result, a group of engaged professionals formed the Swedish Curators’ Association, marking a recent effort in curatorial self-organization. This study aims to understand and illuminate the phenomenon of curatorial self-organization and how the experience of self-organizing is understood by curators in 2022. It investigates the past and current personal lived experiences of four curators through phenomenological methodological, and theoretical approaches. Next, the study explores how their perception correlates with the current curatorial lifeworld. At the core of this study is the hypothesis that in a consolidated lifeworld, curatorial self-organization becomes a model of a joint phenomenological body, functioning as a mechanism of sustainability, balance, and orientation due to the diversity of curatorial practices and experiences of its members. Archival materials and four interviews are at the core of the research. Study results showed that curatorial self-understanding and perception of self-organization are formed very individually; therefore, it would be inaccurate to generalize the phenomenon without having that in mind. Additionally, several internal and external factors played a significant role in the latest formation and perception of the phenomenon. The study also revealed that previous experiences of curatorial self-organizations have not been present in today’s active curatorial lifeworld, existing as familiar yet distant memories. Finally, the study goes beyond its initial hypothesis to find that the current attempt to self-organize curatorially in Sweden can be equated to a tool for curators to self-define, articulate the changing curatorial roles, and re-understand the essence of the profession.

The goal of this thesis was to reassess the relationship between the moving body and technology, and more specifically, to focus on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. According to Dr. Andrea Davidson, 'Such research has rarely been formally identified with the specialised field of somatics' (2013, p.3). The thesis thus proposes to reflect on the experience and conception of the performative body in the link it entertains with technology. Investigating this relationship, it defines a new paradigm, that of an 'interfaced intercorporeality'. This paradigm is constructed with special attention to a different relationship revealed between the interface and the notion of a corporal potentiality or 'interval'. In particular, the thesis focuses on the concept of a 'collective body' based on this relationship and on practical research conducted within the framework of my research, along with the methodology that supported it. The research and creative work that are presented derive from experiments I conceived, conducted and participated in making. My analysis is thus based on direct experience. The relationship between the somatic and technology notably led me to focus on the notion of embodied cognition or 'bodily knowledge' and for this, to re-examine the work of Maurice Merleau-Ponty. As a consequence, this return to the experiential also required revisiting definitions given by the Greeks concerning the aesthetic as a reference to sensation and the ability to perceive. The thesis approaches the body as the ground and basis for creating work, as well as for testing the effect(s) that technology has on it. Experiments conducted sought to develop greater sensory and perceptual awareness in order to invest the relationship of somatics/technology in a dimension that could potentially constitute a transformation of self, of one's relationship to others and to the world. Merleau-Ponty's phenomenological existentialism formed the basis for explorations made to forge links between the somatic and technology. However, it is important to clarify that my intention was not to make an analysis of phenomenology per se. It was rather referenced as a means to explain the framework of my research in relation to lived experience, sensation, and specifically, to my creative approach involving new technologies. Merleau-Ponty's methodology includes subjective, first-person accounts of 'lived experience'. Third-person accounts, or so-called 'objective' positions, are also included. These accounts are then shown to evolve towards an ecosystem of interaction and movement in order to experience and test the production of theory and practical experimentation involved in the methodology I adopted. The thesis incorporates knowledge from several disciplines, but principally from the field of dance and technology. Highlighting sensorial and perceptual phenomena related to the transformation of the body through technology and subjective experience, it takes into account an interdisciplinary perspective that is linked to this problematic. The thesis begins with an introduction to phenomenology in which the concepts and positions of Merleau-Ponty are outlined, including those of anti-dualism, the lived body, the ontology of the body, corporeality, intercorporeality and the flesh. Chapter 1 looks at the evolution of this philosophical movement throughout history and continues with a history of the body in phenomenology, an analysis of certain applications of phenomenology in the field of dance and subsequently, in the specific field of dance related to technology. Chapter 2 comprises a literature review. It also presents the bases of reductionist thinking, the proposition of a return to integrative thinking and issues concerning instrumentalisation, the double and the complexification of the self. It further examines the history of ideas surrounding the relationship between the body and technology, notions of the real-virtual-actual and a history and problematics of the interface. It concludes with a presentation of theories on the notions of potentiality, the interval and real-time. Chapter 3 presents my artistic background, an historical overview of the trends and principal ideas that have influenced my work, as well as an examination of the field of dance and technology from the point of view of its history and more recent developments. Chapter 4 is dedicated to an analysis of the research methodologies employed in the practical research for this thesis and identifies related issues. An analysis of problems encountered with existing methodologies notably highlights a need to invest in other methodological modes for practical research of an interdisciplinary nature. The chapter continues with a presentation of some of the methodologies currently used in the field of dance related to technology. The principles underpinning the specific creative research methodology I experimented with are then presented, proposing an adaptation of the aforementioned methodologies in order to respond to the dynamics of collective research of an empathic nature that are specific to my approach and also in order to invest in the link between the somatic and technology my project proposes. This proposition modestly attempts to respond to the lack of methodologies observed in the field of artistic practical research. A discussion of the experimentation involved in the practical research for the thesis is made in Chapter 5. Two creative experiments are analysed. Their aim was to investigate and develop a collective physical body composed of five dancers in constant contact, whose movement and relationships create what I call a 'collective sound body'. This collective entity produces sound in real-time which is simultaneously spatialised. The analysis takes into account the ways these two bodies are interdependent and constantly interrelated. Schematically, the first experiment served as a basis on which to found principles related to the collective body, while the second experiment developed them. The chapter further outlines creative strategies that were employed to test principles of self-organisation linked to sensation and stemming from the somatic techniques employed. It also returns to some of Merleau-Ponty's main concepts that were implemented and tested in performative experience: intercorporeality, the lived body, the dynamic of continual transformation and the principle of coexistence. Lastly, Merleau-Ponty's investigation of sensation and perception and his concept of sensory chiasms are related to the experiments' multisensory exploration and theme of intersubjectivity which are then proposed as leading to the possibility of intercorporeality. Chapter 6 forms the conclusion and seeks to identify new knowledge generated in the thesis. Essentially articulating another vision of the performative body as developed through its contact with technology, the findings, both practical and theoretical, bring to light a different understanding of the body rendered through a dissolution of psychophysical borders in the development of the performative model I called the 'collective body'. The thesis further proposes that the 'collective body' and its evolution as the 'collective sound body', open up the path to a new approach to interfaces and further, to what I propose as a theory of interfaced intercorporeality. This research aims to reintroduce the body and its specific intelligence in the understanding and building of relationships that can be renewed. The technology used in these experiments was considered as a physicality and the activator of a reconfiguration of sensory-perceptual processes that the thesis argues can lead to the final paradigm of 'interfaced intercorporeality' it proposes.

This presented paper is a parallel reading of two works which both connect a philosophical perception of time and memory with an actual narration. The first is one of the earliest spiritual autobiographies of late antiquity - Confessions - and the second is a modern novel - In Search of Lost Time. A distinctive (originally Neoplatonic) understanding of eternity as simultaneity opens a line of questioning which both Confessions and In Search of Lost Time have in common: What is the relation between time and eternity (extra-temporality in Proust's case) and is it possible at all for a time being to have a relation to something what is eternal? In both works, the mediating role between time succession and timeless simultaneity is played by narration and memory. Part I of the paper (Chapter 1) deals with Augustine's understanding of time which can be found not only in Book XI of Confessions but also throughout the whole work including its narrative passages; it also partly takes into consideration Book VI of De musica. It tries to answer a more general question, i.e. whether Augustine in his autobiography concentrates only on subjective time or whether he is interested in time as such (in contrast to eternity). The answer is intended to be found through the analysis of questions the author of...

Denna kvalitativa studie undersöker sinnena och synestesi som pedagogisk resurs inom det drama-och teaterpedagogiska fältet. Covid-19-restriktionerna under 2020/21 ledde till anpassningar i studien där empiri från fysiska träffar föll bort. Syftet är att lyfta fram sinnena och synestesis roll i drama- och teater-estetiska lärprocesser ur ett fördjupat teoretiskt och ett praktiskt empiriskt perspektiv. Framför allt ur ett multilitteracitetspedagogisk teoretiskt perspektiv och med stöd av L.S. Vygotskis tankar om föreställningsförmåga/fantasi, Augusto Boal´s begrepp om det estetiska rummet och M. Merleau-Ponty syn på synestesi blir viktiga. Metodansatsen som stödjer syftet består av olika fenomenologiskt inspirerade metoder som fokuserar på individens egen erfarenhet. Hela studien genomfördes på två enskilda faser; en fördjupad litteraturgenomgång som kan anses som en litteraturstudie, ett essäskrivande vars empiriska material är två väldokumenterade tidigare drama- och teater-estetiska lärprocesser. Allt insamlat empiriskt material analyserades och kontrasterades med de valda teorier och begrepp. Resultatet i studien visar på en stor inverkan av sinnena på hela barnens kognitiva och kreativa utveckling. I ett pedagogisk/konstnärlig sammanhang visar det sig att sinnena är avgörande bland annat för en optimal förståelse i utövandet av metaxis, en process där eleven/skådespelaren agerar i karaktär och i det indirekt upptäcker den egna individens erfarenheter. Studien identifierar synestesi som ett icke-neurologiskt tillstånd och som en förmåga som kan främjas i drama- och teater-pedagogik och som dessutom blir mer identifierbar inom strukturerade ritualer. Ur ett större pedagogiskt sammanhang belyser studien drama- och teater-estetiska lärprocessers multimodalitet med hjälp av multilitteracitetspedagogisk teori. Detta i sin tur bidrar till att nyansera den “mediepanik debatten” och vidgar diskussionen om den traditionella skolans begränsade syn på multimodalitet och bruket av det i relation till ny medieteknologi. / This qualitative study aims to explore the senses and Synaesthesia as a pedagogical resource in the field of Applied theatre and drama. The Covid-19 restrictions during 2020/21 led to adaptations in the study, where empirical data from physical meetings were not included. The purpose is to highlight the role of the Senses and Synaesthesia in Drama and theatre-aesthetic learning processes, from an in-depth theoretical and a practical empirical perspective. In the theoretical framework become relevant especially the Multiliteracy pedagogical theoretical perspective and with the support of L.S. Vygotsky’s Theory of Imagination, Augusto Boal's concept of The Aesthetic space and M. Merleau-Ponty's view on Synaesthesia. The methodological approach that supports the purpose, consists of various phenomenologically inspired methods that focus on the individual's own experience. The entire study was carried out in 2 individual phases; an in-depth literature review that can be considered as a literature study, an essay writing whose empirical material is two well-documented previous Drama and theatre aesthetic learning processes. All collected empirical material was analysed and contrasted with the chosen theories and concepts. The results of the study show a great impact of the Senses on the cognitive and creative development of the infant. In an educational/artistic context, it appears that the Senses are crucial, among other things, for an optimal understanding in the practice of Metaxis, a process in which the student/actor acts in character and in doing so indirectly discovers his/her own individual experience. The study identifies Synaesthesia as a non-neurological condition and as an ability that can be promoted in pedagogy and that, moreover, becomes more identifiable within structured rituals. In a wider pedagogical context, the study highlights the multimodality of Drama and theatre aesthetic learning processes using Multiliteracy pedagogical theory. This in turn helps to nuance the so-called debate “media panic” and broadens the discussion on the traditional school's limited view of Multimodality and its use in relation to new media technology.