Zugl.: Trier, Univ., Diss.

Cet essai s'inspire des diagrammes de Georges Maciunas et des corrélations qu'il a ainsi établies sur les filiations artistiques de Fluxus. Ces oeuvres, comme les entrevues que Maciunas a accordées aux médias, ont déterminé la perception que nous avons aujourd'hui de cette entité artistique. Nous référons donc à plusieurs endroits aux articles de journaux et aux entrevues parues dans la période où Maciunas était vivant, car ceux-ci viennent confirmer que Maciunas a proposé une certaine histoire de Fluxus et qu'elle a été adoptée. Nous questionnerons donc certains acquis au sujet de Fluxus, dont l'idée que ces artistes étaient des « misfits » dans leur époque. Nous revisitons l'histoire du XXe siècle, inspirés par les liens que Maciunas effectue dans ses diagrammes. Puis, nous mettons en contexte les théories des contemporains de Fluxus, comme celles des historiens et commentateur plus récents qui ont élaboré de nouvelles emprises, parfois relationnelles, parfois contextuelles, sur ces oeuvres au départ dites conceptuelles. En croisant les différentes sources aux oeuvres de Fluxus, il se dégage un portrait de ce regroupement d'artistes qui fait ressortir leur attachement à l'avant-garde artistique du XXe siècle tout comme l'influence qu'ils ont eue sur l'évolution de l'art conceptuel, puis de l'art relationnel et contextuel. Nous en concluons que Fluxus s'est imposé comme façon de faire et continue aujourd'hui à nourrir la réflexion sur ce qu'est l'art. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Fluxus, George Maciunas, Yoko Ono, Avant-garde, Art conceptuel, Art relationnel, Art contextuel, Art du XXe siècle.

The objective of this thesis is to examine how the bereavement of a mother tongue in various ways affects a person and how literature discusses this experience. How does literature reflect it and is it possible to identify any specific and recurring themes? Are there any similarities between the experience of migration and the experience of colonialism? What purpose does writing serve in this and how to describe the impact of language? Hopefully this thesis will contribute to a better understanding of the situation for newly arrived people and for persons living in Sweden with Swedish as a second language. The thesis has a postcolonial perspective as the focus is fiction dealing with a relocation from east to west. Earlier research and writings that has inspired is in particular the works by the two postcolonial theorists Franz Fanon and Sara Ahmed. The main source material for the study is literary works, e.g. the works of Jila Mossaed, Theodor Kallifatides, Athena Farrokhzad, Burcu Sahin and Yoko Tawada. The thesis is intentionally written in the form of an essay, suggesting the power of language and storytelling. The main objective of the thesis is to describe, rather than to arrive at a conclusion. One main focus is the author’s personal relation to the subject and to the Philippines and its colonial past. The literary works addressed in this study suggests that literature dealing with migration and language bereavement mainly focuses on a discussion about the relation between the native tongue and the new language, the relation between the metaphysical body and the new geographical location, about feelings of speechlessness and alienation that becomes physical. All these concurrent themes can be used as tools to define an experience that in many aspects is inconceivable. The thesis also identifies similarities between colonialism and migration, as both raise the question of inherit right to a place and a lifelong search for a place to call home. In this effort, writing is important and may function as an emancipatory lever to create new places.

This works explores how to work with Event scores as a design method. In the search for what is real or what is reality the already existing things are being explored. The work started with investigating suitable ways to work with the moving body in the design process, with the aim to find a method that gave control but also left some parameters to the undecided and ambiguous. Convinced that this will lead to something new some parts of the process were highlighted and re-formulated. / Program: Modedesignutbildningen

The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method.  In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping.  In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.

Les forêts tropicales renferment des peuplements arborescents dont la gestion et l’aménagement nécessitent des connaissances sur leur organisation spatiale et leur dynamique. Les analyses de la structure spatiale des espèces arborescentes peuvent être utilisées en forêts naturelles pour identifier les mécanismes sous-jacents qui structurent les peuplements forestiers afin d’améliorer la compréhension des relations entre les espèces. Cette étude a été menée dans la Réserve Forestière de Yoko (RFY) aux environs de Kisangani à l’est de la RD Congo (R.D.C). Elle consiste à analyser la structure spatiale horizontale des espèces les plus abondantes et à tenter d’identifier, à l’échelle locale, les facteurs et/ou processus écologiques potentiellement explicatifs pour en retirer des enseignements utiles à la gestion des massifs forestiers situés à proximité de Kisangani. <p>Pour ce faire, une parcelle d’échantillonnage de 25 ha (500m 500m) a été délimitée dans le bloc sud de la RFY constitué d’une végétation ligneuse mixte et semi-décidue. Un inventaire forestier a permis d’analyser la composition floristique et structurale de la zone. Trois techniques (ou modèles statistiques) relevant de l’écologie spatiale pour l’analyse de la structure horizontale des espèces ont été utilisées :la méthode du voisin le plus proche de Clark & Evans (1954), la méthode d’échantillonnage aléatoire de Hines & Hines (1979), ces deux méthodes reposant sur une analyse à échelle unique de la parcelle d’étude, et la méthode de Ripley (1977) permettant non seulement une analyse multi-échelle mais aussi l’étude des relations intra et interspécifiques. Concernant ce point précis, les arbres ont été catégorisés en trois stades de développement sur la base de leurs diamètres (les jeunes, les immatures et les adultes). Une analyse comparative et théorique des trois méthodes a été effectuée. <p>Un total de 169 espèces appartenant à 36 familles dont 114 genres ont été identifiées, et la famille des Fabaceae dont la majorité des espèces appartiennent à la sous famille des Caesalpinioideae est apparue prépondérante. Trois espèces se sont révélées les plus abondantes et les plus représentatives du peuplement, et ont pour cette raison fait l’objet de toutes les analyses :Gilbertiodendron dewevrei J. Léonard (De Wild), Scorodophloeus zenkeri Harms et Uapaca guineensis Mull. Arg. Elles ont toutes les trois montré une structure agrégée, et cela à toutes les échelles d’analyse. Les agrégats observés présentent un rayon d’environ 25 m de distance. L’analyse en fonction du diamètre a indiqué une structure agrégée pour les plus petits diamètres et régulière pour les plus grands, et que l’agrégation diminue avec le diamètre. Les résultats montrent également que les structures spatiales observées dépendent de l’échelle d’analyse considérée et de la méthode utilisée. La méthode de Clark & Evans est sensible à la variation de l’étendue. À cet égard, l’échantillonnage aléatoire de Hines & Hines est apparu plus adaptée que celui de Clark & Evans. Les fonctions de Ripley et dérivées sont des outils efficaces et apportent plus d’information. Les analyses ont montré des associations positives entre G. dewevrei et S. zenkeri, ainsi qu’entre G. dewevrei et U. guineensis. Par contre, une indépendance a été constatée entre S. zenkeri et U. guineensis. Il apparaît également que les jeunes sont associés positivement aux adultes supposés reproducteurs, et que les immatures sont indépendants par rapport aux adultes. La dispersion faible ou limitée des graines à proximité des arbres parents en est le principal facteur endogène responsable. Ce facteur explique également les associations positives entre les jeunes et les adultes de la même espèce. La compétition entre des individus pour les besoins en espace, en lumière ou en nutriments dans le sol, explique la structure régulière observée ainsi que l’indépendance des immatures envers les adultes. La dispersion limitée n’est cependant pas le seul facteur explicatif de l’agrégation spatiale des arbres, d’autres facteurs tels que l’hétérogénéité environnementale (sol, topographie,…) ou la perturbation sont vraisemblablement aussi impliqués. La perturbation anthropique ou naturelle est un processus écologique qui devrait avoir joué un rôle déterminant dans l’organisation spatiale des communautés de la forêt. Combinée au phénomène de masting, aux effets de Janzen-Connell et aux ectomycorhizes, elle est très probablement à la base des structures spatiales et des relations spatiales observées entre les espèces de la RFY. / Tropical forests contain tree-stands with management and planning requires knowledge of their spatial organization and dynamics. Analyses of the spatial structure of tree species can be used in natural forests to identify the underlying mechanisms that structure of forest stands to improve the understanding of the relationships between species. This study was conducted in the Yoko Forest Reserve (YFR) around Kisangani in eastern DR Congo (DRC). It is to analyze the horizontal spatial structure of the most abundant species and to try to identify, on a local scale, factors and / or potentially explicative ecological processes to draw valuable lessons for the management of forest areas nearby Kisangani. <p>To do this, a sample plot of 25 ha (500m x 500m) was delineated in the southern block of the YFR consists of a mixed woody vegetation and semi-deciduous. A forest inventory was used to analyze the floristic and structural composition of the area. Three techniques (or statistical models) under spatial ecology for the analysis of the horizontal structure of the species were used: the nearest neighbor method of Clark & Evans (1954), the random sampling method Hines & Hines (1979), these two methods based on a single scale analysis of the study plot, and the method of Ripley (1977) allows not only a multi-scale analysis, but also the study of intra- and inter-relationships. Regarding this point, the trees were categorized into three stages of development on the basis of their diameters (young, immature and adult). A comparative and theoretical analysis of the three methods was performed. <p>A total of 169 species belonging to 36 families with 114 genera have been identified and the family Fabaceae which the majority of species belong to the subfamily Caesalpinioideae appeared decisive. Three species have proved the most abundant and the most representative of the stand, and for this reason the subject of all analyzes Gilbertiodendron dewevrei J. Léonard (De Wild) Scorodophloeus zenkeri Harms and Uapaca guineensis Mull. Arg. They all three showed an aggregated structure, and that all scales of analysis. Observed aggregates have a radius of about 25 m distance. The analysis based on the diameter indicated an aggregated structure for smaller diameters and regular for larger and that aggregation decreases with diameter. The results also show that the observed spatial structures depend on the considered analysis of scale and the method used. The method of Clark & Evans is sensitive to the variation in the extent. In this regard, the random sampling of Hines & Hines appeared more suitable than that of Clark & Evans. Ripley's functions and derivatives are effective tools and provide more information. Analyses showed positive associations between G. dewevrei and S. zenkeri, and between G. dewevrei and U. guineensis. By against, independence was found between S. zenkeri and U. guineensis. It also appears that young people are positively associated with the supposed breeding adults and immatures are independent compared to adults. The low or limited seed dispersal near parent trees is the main endogenous factor responsible. This factor also explains the positive associations between youth and adults of the same species. The competition between individuals to space requirements, light or nutrients in the soil, explains the observed regular structure and the independence of immature towards adults. Limited dispersal, however, is not the only factor explaining the spatial aggregation trees, other factors such as environmental heterogeneity (soil, topography, ) or disturbance are probably also involved. Anthropogenic or natural disturbance is an environmentally friendly process that should have played a decisive role in the spatial organization of forest communities. Combined with masting phenomenon, the effects of Janzen-Connell and Ectomycorrhizae, it is very probably the basis of spatial structures and spatial relationships observed between species of the YFR.<p><p> / Doctorat en Sciences agronomiques et ingénierie biologique / info:eu-repo/semantics/nonPublished

It has not been easy for me to talk about myself or describe my feelings or thoughts. Coming from Japan, a collective society, we typically are not raised to do so. Throughout the MFA program at UCF, I have shared my feelings and thoughts through my work. It is important to discuss and inform others of our cultural similarities and differences so that we may gain a better understanding of each other. This process has helped me grow not only on an artistic level, but also on a personal level. My journey towards integration has led me to a meaningful studio practice, which has allowed my work to bridge the gap between Western and Eastern artistic sensibilities. At the beginning of the MFA program, my mother sent many boxes of origami from Japan. As I started incorporating my mother’s origami into my work, I found myself identifying with the origami butterfly. My realization is that the person I am now is not the person I was when I began this journey. My wish for you, the reader, is to go along with me as I tell you the story of my transformation.