Der vorliegenden Studie Die dialektische Lebenskunst von Guy Debord, Verworfener & Kulturschatz liegt eine interdisziplinäre Untersuchung des Gesamtwerks jenes französischen Radikalen zugrunde. Debords kohärentes Bestreben hatte darin bestanden, zu einer Leidenschaft der Existenz zurückzufinden, wie sie als Grundlage zur Umwälzung des verarmten Alltagslebens dienen sollte. Zugleich Ehre und Pläsier war es ihm dabei, der „Gesellschaft des Spektakels“ - 1967 in einem strategisch eingesetzten ‚Theoriebuch‘ in Form von Zweckentfremdungen analysiert - zu schaden, wo er nur konnte. Kategorisierungsversuche seiner Tätigkeiten und Umtriebe ‚unterlief‘ der Wahlpariser regelmäßig. Lediglich den Einordnungen als Filmemacher und Enragé stimmte er zu. Interpretationsschwerpunkte liegen auf der Begutachtung von Bildmanifesten und Selbstporträts, wozu seine sieben Filme zählen. Im Rahmen eines an Gerald Raunig und Bazon Brock angelehnten Theoriedesigns, wird sein provokantes Vorgehen in neun Kapiteln (I – IX) als Gesamtkunst-Experiment und Lebenskunstwerk beschrieben. Fundamental ist hierbei das Diktum Brocks, dass ein Totalkunstwerk ein Postulat seiner eigenen Verwirklichung darstellt. Die Gliederung des Stoffes folgt dem romanhaften Werdegang eines Initiators zweier Avantgardeformationen sowie dem Vollzug einer ‚Überwindung‘ der Kunst in deren Reihen. Das Gravitätszentrum aller Aktivitäten und ein Scharnier der Abhandlung ist die klandestine Rolle, welche die Situationistische Internationale bei der Verwirklichung der Mai-Revolte 1968 in Frankreich spielte. / In its character the study Guy Debords Art of Living, Accursed Poet & Cultural Treasury is an interdisciplinary examination of this French radical’s strange and obscure ways. His coherent achievement may be judged as an approach to regain a lost passion of existence in order to revolutionize everyday life. Debord found pleasure and pride in his lifelong ambition to demolish the so-called “Socitey of the Spectacle”, which he analyzed in his infamous book by the same title, first published in 1967. Often quoted since, rarely described as the invention and event it was. Debord defended himself againt categorization. But he agreed on being titulated a filmmaker and enraged person in the tradition of a perverted French Revolution. Following a theory-design, paying references to Gerald Raunig and Bazon Brock, his provocative approach is discussed in nine chapters (I-IX). Baring in mind that – according to Brock – a total work is a postulate of its own realization. The script follows the novel-like progress of a co-founder and lustful destroyer of two avantgarde-troups. All of the group activities are gravitating around what happened in Paris at the heyday of May 68.

The performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. Her "talent" for hysteria earned her notoriety and celebrity. She was coached and directed from her doctors to enhance her demonstrations. As a result, the validity and authenticity of her state was questionable. I compare the performative qualities of hysteria with my own states of drama as a performer and draw parallels between us, looking specifically at states of experience, both imagined and real.

Confused Spaces has come to the conclusion that theatricality can be a device for defining different types of public space. This book aims to define theatricality in architectural terms by taking principles from the disciplines of theater and urban design. It limits the scope of the definition to a specific set of elements of theatricality that include spectacle, transition, flexibility, and compactability. After attempting to define why these elements of theatricality are valid architectural concepts, the text then pushes to understand the experience that these elements can create. Through the use of historical and contemporary references, an argument for theatricality can already be found to exist but simply has not been clearly defined. The best methods of studying the design concepts are initially discussed. It is believed that in addition to a thorough case study of an existing structure which practices theatricality, the best way to explain the concepts of the idea as well as analyze them would be through several design attempts. Architectural competitions become the venue for experimentation. Three competition entries are submitted that attempt to implement theatricality. One more competition is created and results in an exhibition of the entries as well as an installation which can be studied and analyzed in a physical space. By using principles distilled from all the preceding research and design analysis, a theoretical large-scale design is explored. The design combines significant site data with all the design principles defended in the text up to this point. The design becomes the most complete visual representation of the core concept for theatricality. In conclusion, it is determined that the principles of theatricality clearly have a significant impact on the public and the pedestrian experience. It is encouraged for the concept to be used as a design device for creating pedestrian-friendly spaces in the future.

This dissertation re-evaluates the ways in which contemporary television documentary practices engage their audience. Bringing together historical frameworks, and using them to analyse a range of examples not considered together within this context previously, the main finding is that the use of spectacle to engage the audience into a visceral response cuts across all of the examples analysed, regardless of the subject matter being explored. Drawing on a media archaeological approach, the dissertation draws parallels with the way in which pre-cinema engaged an audience where the primary point of engagement came from the image itself, rather than a narrative. Within a documentary context, which is generally understood as a genre which is there to educate or inform an audience, the primacy of spectacle calls for a re-evaluation of the form and function of documentary itself. Are twenty-first century documentary practices manufacturing an emotional connection to engage the audience over attempting to persuade with reasoning and logic? The answer contained within this dissertation is that they are.

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Généralement analysé sous son angle économique, touristique ou culturel, le festival est rarement appréhendé comme un objet relationnel. Le présent mémoire s'intéresse au cas du Festif! de Baie-Saint-Paul et, empruntant au sociologue Hartmut Rosa son concept de résonance, il analyse d'abord comment et en quoi ce festival « résonne » pour ses festivaliers locaux. S'appuyant sur les concepts de chaîne de coopération et de conventions tels que développés par Howard Becker dans Les mondes de l'art, il tente ensuite d'éclairer comment les caractéristiques organisationnelles même de ce festival participent à créer cet espace de résonance. Se basant sur vingt entretiens réalisés avec des festivaliers issus de la communauté charlevoisienne ainsi que neuf autres avec des membres de l'organisation du Festif! de Baie-Saint-Paul, ce mémoire démontre l'importance des relations tissées entre un festival et son milieu comme facteur clé de sa réussite et de sa pérennité.

Yes / Objectives: To determine the impact of adherence to spectacle wear on visual acuity (VA) and developing literacy following vision screening at age 4–5 years. Design: Longitudinal study nested within the Born in Bradford birth cohort. Setting and participants: Observation of 944 children: 432 had failed vision screening and were referred (treatment group) and 512 randomly selected (comparison group) who had passed (<0.20 logarithm of the minimum angle of resolution (logMAR) in both eyes). Spectacle wear was observed in school for 2 years following screening and classified as adherent (wearing spectacles at each assessment) or non-adherent. Main outcome measures: Annual measures of VA using a crowded logMAR test. Literacy was measured by Woodcock Reading Mastery Tests-Revised subtest: letter identification. Results: The VA of all children improved with increasing age, −0.009 log units per month (95% CI −0.011 to −0.007) (worse eye). The VA of the adherent group improved significantly more than the comparison group, by an additional −0.008 log units per month (95% CI −0.009 to −0.007) (worse eye) and −0.004 log units per month (95% CI −0.005 to −0.003) in the better eye. Literacy was associated with the VA, letter identification (ID) reduced by −0.9 (95% CI −1.15 to −0.64) for every one line (0.10 logMAR) fall in VA (better eye). This association remained after adjustment for socioeconomic and demographic factors (−0.33, 95% CI −0.54 to −0.12). The adherent group consistently demonstrated higher letter-ID scores compared with the non-adherent group, with the greatest effect size (0.11) in year 3. Conclusions: Early literacy is associated with the level of VA; children who adhere to spectacle wear improve their VA and also have the potential to improve literacy. Our results suggest failure to adhere to spectacle wear has implications for the child’s vision and education. / AB is funded by a National Institute for Health Research Post- Doctoral Fellowship Award (PDF-2013-06-050). The Born in Bradford study presents independent research commissioned by the National Institute for Health Research Collaboration for Applied Health Research and Care (NIHR CLAHRC) and the Programme Grants for Applied Research funding scheme (RP-PG-0407-10044).

Thèse en cotutelle : Université Laval, Québec, Canada et Université Paris-Saclay, Cachan, France. / Le monde de la propriété littéraire et artistique est aujourd’hui ébranlé par de nouveaux acteurs qui font douter du monopole de l’Humain dans le secteur artistique. L’animal - reconnu depuis 2015 par le Code Civil français comme un être vivant doué de sensibilité - vient confirmer ces doutes. En effet, la présence de ce dernier dans le domaine artistique est incontestable : l’animal est autant représenté dans les longs et courts métrages que sont les films, les publicités ou les documentaires, qu’il apparaît en premier plan d’une exposition de photographies. Les œuvres animales, qui ne sont pas une hérésie, volent même parfois la vedette aux œuvres humaines sur la scène du marché de l’art. Cependant, malgré sa proactivité, l’animal est dénué du droit français de la propriété littéraire et artistique alors que les revenus et bénéfices générés par son exploitation dans ce domaine existent et sont conséquents. Dès lors, il apparaît légitime de s’interroger sur l’animal en tant que sujet du droit de la propriété littéraire et artistique : s’il ne peut l’être par le droit positif, alors par un droit prospectif.

No / A follow up study to investigate whether UK optometrists partially prescribe significant changes in refractive correction to assist patient adaption and whether various aspects of practitioner profiles are linked to the nature of these prescribing decisions. Method:¿ A case scenario type questionnaire was distributed by post and via the internet to UK optometrists. Five case scenarios were described that included information on patient age, symptoms, habitual refractive correction (if any), subjective refraction and any other relevant clinical information. In each case respondents were asked to indicate and justify what refractive correction they would prescribe. Results:¿ A total of 592 questionnaires were completed. Between 41% and 84% prescribed the subjective refraction result depending on the scenario. The likelihood of partial prescribing increased by 34% for every 10 years following qualification and thus after a typical 40 year career, respondents were now over three times more likely to partially prescribe. There were no other links with the propensity to partially prescribe. Conclusion:¿ The subjective refraction result exerted a strong hold on the reported prescribing outcome, particularly for newly qualified optometrists. Partial prescribing was increasingly proposed the greater the number of years the respondent had been qualified. This suggests that with increasing exposure to patients who return dissatisfied with their spectacles, a greater appreciation of partial prescribing is gained. This link seems to be an important finding that provides significant support for the prescribing rules suggested by textbooks, which are not yet supported by research evidence.

No / Purpose. To determine whether gait alterations due to monocular spherical lens blur were a safety strategy or driven by lens magnification. Methods. Adaptive gait and visual function were measured in 10 older adults (mean age, 74.9 4.8 years) with the participants' optimal refractive correction and when monocularly blurred with 1.00 DS and 2.00 DS lens over the dominant eye. Adaptive gait measurements for the lead and trail foot included foot position before the raised surface, toe clearance of the raised surface edge, and foot position on the raised surface. Vision measurements included binocular visual acuity, contrast sensitivity, and stereoacuity. Results. Equal levels of monocular positive and negative spherical lens blur led to very different stepping strategies when negotiating a raised surface. Positive blur lenses led to an increased vertical toe clearance and reduced distance of the lead foot position on the raised surface. Negative lenses led to the opposite of these changes. Conclusions. Findings suggest that step negotiation strategies were driven by the magnification effect provided by the spherical lenses. Steps appeared closer and larger with magnification from positive lenses and further away and smaller with minification from negative lenses and gait was adjusted accordingly. These results suggest that previously reported adaptive gait changes to monocular spherical lens blur were not safety strategies as previously suggested but driven by lens magnification. The significance of these findings in terms of prescribing large refractive changes in frail older patients is discussed.