Housing renovation is a major activity for many consumers in Australia, and its growing popularity in recent years has been reflected not only by it share in GDP but also by publicity it receives via home exhibitions and numerous TV renovation shows. Despite this, and despite similar experiences in other countries, research on how decisions in this sector are made is still quite sparse, a major restraint being the limitation of secondary data. This thesis attempts to improve knowledge in this area while at the same time exploring the feasibility and benefits of doing applied economic research in a pluralistic manner. From the perspective of mainstream economics, individuals’ decision-making in the context of renovation can be modelled in terms of utility/profit maximization subject to a budget constraint. The literature that has attempted to follow this research strategy is reviewed in Chapter 2, as is research undertaken in sociology that has been partly informed by behavioural economics. The economic literature fails to recognize the possible importance of social influence and psychological factors in this context. This could be unfortunate, as these factors, which are seen as important in some other economic paradigms, may explain how some renovators get derailed from rational decision-making. The methodology of pluralism offers a way to bridge between these divergent arguments by keeping mainstream insights in mind whilst at the same time adopting an ‘open-minded’ rather than ‘autistic’ attitudes towards different paradigms and embracing ‘realistic’ aspects (e.g. limits to individuals’ rational behaviours) rather than assuming them away. Chapter 3 examines the case for pluralism and shows that although debate in economics is often couched in terms of a battle between fundamentally opposed ‘mainstream’ and ‘heterodox’ views, a deeper analysis of sub-paradigms reveals a complex web of partially overlapping core ideas. Once this richer view of schools of thought in economics is recognized, orthodox economics and heterodox economics are not necessarily incompatible but rather seem potentially complementary. Despite renovation being a popular topic in Australia, relevant micro-data regarding individuals’ choices and their social and psychological attitudes towards renovation are in short supply. Therefore, unlike most previous renovation studies using published secondary data, this study involved the collection of primary data by a survey mailed to a sample of Brisbane residents in late 2006 and early 2007. Chapter 4 explains this choice of method, which provided data on respondents’ decision-making regarding renovation, their demographics, and social and psychological factors. This data set was used to analyse the following four topics: individuals’ decision to renovate or not (Chapter 5); renovators’ choice between using their own labour (DIY) or outsourcing the work (Chapter 6); psychographic segments of ‘non-renovators’, ‘DIY-renovators’ and ‘Hire-renovators’ (renovators who outsource the work) (Chapter 7); and factors shaping renovators’ tendencies to engage in overcapitalization and cost escalation in their renovation projects (Chapter 8). The pluralistic philosophy is applied in an addition way to analyse these issues, since the study used a variety of statistical techniques. The empirical results reveal that this dual form of pluralism—involving theoretical inputs from a variety of paradigms (including both ‘old’ and ‘new’ behavioural economics, socio-economics and others) and a variety of analytical techniques (cluster analysis, logistic regression and others)—does indeed widen our understanding of this topic. Generally speaking, the empirical finding stresses the importance of psychological factors in the context of individuals’ decision-making on renovation. In analysing individuals’ decisions to renovate or not, it is shown that, besides conventional factors (such as age of respondents), the psychological factor ‘perceived self-performance in renovation’ is crucial: individuals are more likely to embrace renovation if they perceive highly their ability to handle the renovation process. In exploring renovators’ decisions to engage in do-it-yourself (DIY) or hire others to do the work in their latest renovation projects, besides factors such as the scope of the project and renovators’ capabilities, the psychological factor ‘trust in contractors’ plays an important role: renovators are more likely to choose to use their own labour if they are uncertain about contractors’ reliability while those who outsource renovation works are in general more trusting than those who engage in DIY. The exploratory psychographic analysis of heterogeneous groups within each of the three groups (non-renovators, DIY-renovators and Hire-renovators) indicates the necessity of recognizing the heterogeneity the population when designing policies to improve the efficiency of the renovation market. In the investigation of renovators’ mistakes that lead to overcapitalization and cost escalation, psychological factors did not show their expected strong influences on either of these phenomena. However, it was found that the factors related to the project itself, especially the scope of the project (approximated by ‘time spent on preparation’) and the age of house, influence renovators’ overcapitalized spending and the extent of their cost escalation.

In this master project I investigate materiality, transhumanism and alternative ways of producing knowledge and new discussions in the fields of glass craft, electronics and biotechnology. I make do-it-yourself glass computers and explore the relation between body/human-machine/computer with a hacker approach.

Återhämtning hos unga är en pågående process, likställd den fysiologiska utvecklingen. Begreppet har olika innebörd utifrån ålder och mognadsgrad. Studiens syfte var att utifrån den unga människans perspektiv, belysa innebörden av återhämtning. Den teoretiska referensramen bygger på Phil Barkers teori Tidvattenmodellen. Datainsamlingen genomfördes i individuella intervjuer, semistrukturerade med en hermeneutisk ansats. Intervjuerna spelades in, transkriberades och analyserades med utgångspunkt i Lindseth och Norbergs metod. Tre huvudteman trädde fram - att bli medveten om hur kaos påverkar, att förstå behov av återhämtning för att må bra samt att reflektera över hur återhämtning kan ske. Resultatet visar att själv bemästra förmågan att återhämta sig, är en viktig del för att främja sin psykiska hälsa, men också ett viktigt verktyg för att lära sig hantera sin psykiska ohälsa. Återhämtningens kraft, är av betydelse vid psykisk ohälsa. Hur ungdomar återhämtar sig är individuellt och sker ofta utan att de själva är medvetna att och när det händer. Ungdomarna vittnar i sina livsberättelser om att det existerar ett stigma kring återhämtning i samhället, där en ständig tillgänglighet tidigt lärs in - behov att vara själv för att slappna av och stänga ute vardagens ständiga brus lyftes fram som särskilt betydande för individens liv. / Recovery in young people is an ongoing process, equated to physiological development. The term has different meanings based on age and maturity. The purpose of the study was to highlight the meaning of recovery, based on the young person's perspective. The theoretical reference frame is based on Phil Barker's theory of tidal model. The data collection was conducted in individual interviews, semistructured with a hermeneutic approach. The interviews were recorded, transcribed and analyzed on the basis of Lindseth and Norberg's method. Three main themes emerged - to become aware of how chaos affect, to understand the need for recovery to feel good, and to reflect on how recovery can take place. The result shows that self-mastering ability to recover is an important part of promoting mental health, but also an important tool for learning how to handle mental illness. The recovery's power is important in mental ill health. How youth recovers is individual and happens often without being conscious and when it happens. The youngsters testify in their life stories that there is a stigma about community recovery, where constant availability is learned early - need to be self to relax and shut out the constant noise of everyday life is highlighted as particularly important to the individual's life.

Esta pesquisa inscreve-se no cenário da formação inicial com alunas de Curso Normal com idade de 14 a 18 anos, de uma escola de internato situada no município de Estrela, interior do estado do Rio Grande do Sul. O principal objetivo da pesquisa foi propor um experimento com essas alunas, fazendo uso da escrita de cartas e da arte contemporânea, a partir de experiências minhas, na vida escolar e profissional. Para tanto, ofereci oficinas sobre escrita como uma maneira de convidar as alunas a pensar sobre os processos de formação, na escola e na vida. Utilizei-me das discussões a respeito do cuidado de si estudado por Foucault, as relacionando em alguns momentos com as teorizações trazidas por Nietzsche. Foram realizados 11 encontros entre 2010 e 2011, organizados a partir de exercícios de escrita, como também da recepção de obras de artistas contemporâneos que trabalham com a escrita, tais como León Ferrari, Mira Schendel, Elida Tessler e Jorge Macchi. Estes encontros tornaram-se um espaço de conversa e pensamento sobre si mesmo e de intensificação das relações sociais no âmbito da formação inicial docente. O corpo empírico do trabalho compõe-se das cartas produzidas pelas alunas (cartas-vontade a partir da história “A bolsa amarela”, cartas a partir de obras dos artistas contemporâneos analisados e cartas-avaliações produzidas no último encontro), como de anotações em um diário de campo e as escritas de um diário coletivo, realizadas a cada encontro por uma aluna diferente. A análise dos materiais aconteceu a partir de relações tecidas a partir das potencialidades das escritas produzidas, a saber: (Re)pensar alguns modos de ser e olhar pelas misturas em arte e escrita (artescrita), possibilidade de deslocamentos e recomposições de si. Neste trabalho, situa-se a prática de escrita na proximidade do cuidado de si e as oficinas como espaço de experimentação que pretende problematizar algumas verdades sobre os modos de ser professor, aluno e adolescente buscando transformar estas verdades, em princípio racional, criando um estilo próprio de vida. Convida-se a pensar, na arte contemporânea como uma técnica do cuidado de si, aprender com os artistas a (de)compor a composição da escrita utilizada normalmente na escola, deslocar algumas naturalidades nos modos de pensar, e pensar outras maneiras para se compor reinventar-se, ainda que sem garantias, favorecendo o pensar sobre si, sobre os outros numa tentativa incansável de desfocar o olhar, a fim de empreender um projeto ético de estar atento as próprias ações. Uma maneira de constituir-se sujeito e professor, com a possibilidade de inúmeras composições. / This research is part of the stage of initial training in the Teaching Profession Course students aged 14-18 years in a boarding school located in the city of Estrela, the state of Rio Grande do Sul . The main objective of this research was to propose an experiment with these students, making use of letter writing and contemporary art, from my experiences in school and professional life. To this It was offered workshops on writing as a way to invite the students to think about the processes of formation, in school and in life. I drew the discussions about the care of oneself, studied by Foucault, relating them in some moments with the theories brought by Nietzsche. Eleven meetings were held between 2010 and 2011, arranged from writing exercises, as well as the reception of works by contemporary artists who work with writing, such as León Ferrari, Mira Schendel, Elida Tessler and Jorge Macchi, in an area of talking and thought about yourself and intensification of social relations in the context of initial teacher training. The empirical body of work consists of the letters produced by the students (letters-will from the story "The yellow bag," Letters from the works of contemporary artists analyzed and letters-assessments produced at the last meeting), as notes in a diary and writings of a collective diary, held every other meeting by a different student. The analysis of the materials came from relationships made regarding the potential of the records produced, namely: (Re) thinking in some ways of being and look for mixes art and writing (written art), possibility of dislocation and shifts yourself. In this paper, stands out the practice of writing in the proximity of self-care and workshops as a space of experimentation that intend to discuss some truths about the ways of being a teacher, student, youth, seeking to turn these truths in rational principle, creating an own life style. You are invited to think, in contemporary art as a technique of self-care, learning from the artists (de) compose a written composition normally used in school, to dislocate some naturalities in ways of thinking, and thinking about other ways to compose reinvent itself, even without guarantees, favoring the think about yourself, about others in a restless attempt to blur the gaze in order to undertake an ethical project to be aware to the own actions. One way to constitute subject and teacher, with the possibility of numerous compositions.

Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-02-22T16:13:07Z No. of bitstreams: 1 arquivototal.pdf: 4524762 bytes, checksum: 7fd4b57155197d6e40db15a8b4dd0410 (MD5) / Made available in DSpace on 2016-02-22T16:13:07Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4524762 bytes, checksum: 7fd4b57155197d6e40db15a8b4dd0410 (MD5) Previous issue date: 2014-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With the emergence of the internet, the most important environment of cyberculture, we begin to observe that a certain freedom of creation performed by amateurs take up a space and a visibility that draws the attention of scholars. To conduct this research, we use as theoretical background the knowledge on culture, sub and counter culture, culture industry and cyberculture studies, participation and sharing culture.Therefore, we observe the emergence of a culture of the "do it yourself", which had its first manifestations in the hands of hackers and scientists, who explored this new territory and started to create new usage possibilities. Over time these actions have been gaining a new contour, resulting, in the long run, on the Internet as we know it.This dissertation aims to seek an understanding on the current dimension of the culture of the do it yourself on the internet, observing all its features implemented in the examples mapped.This is a qualitative research, which objectives are set on an exploratory and explanatory research, seeking to understand this phenomenon in the context of Communication.We performed a literature research accompanied by field surveys, directly on the Internet, to collect all the data needed for the analysis and clarifications. We conclude that the culture of the do it yourself is a basic principle of cyberculture and we become aware of inversion in the logic of the cultural industry, which once determined what the public would consume, and is now seeks on the public new ways to obtain profit. / Com o surgimento da internet, principal ambiente da cibercultura, começamos a observar uma liberdade de criação realizada por amadores ganhar um espaço e uma visibilidade que chamam a atenção dos estudiosos. Para realizar esta pesquisa, utilizamos como fundamentação teórica conhecimentos acerca de cultura, sub e contra cultura, indústria cultural e os estudos sobre cibercultura, cultura da participação e do compartilhamento. Diante disso, observamos o surgimento de uma cultura do faça você mesmo, que teve suas primeiras manifestações nas mãos dos hackers e cientistas, que exploraram aquele novo espaço e começaram a criar novas possibilidades de uso. Com o tempo essas ações foram ganhando novas configurações, até chegar à internet que conhecemos hoje. O objetivo principal desta dissertação é buscar um entendimento para a atual dimensão da cultura do faça você mesmo na internet, observando todas as suas características aplicadas nos exemplos que mapeamos. Trata-se de uma pesquisa de natureza qualitativa, cujos objetivos têm caráter de pesquisa exploratória e explicativa, no sentido de buscar a compreensão desse fenômeno no contexto da Comunicação. Operacionalizamos uma pesquisa bibliográfica acompanhada de levantamento de campo, diretamente na internet, para coletar todos os dados necessários à análise e explicações. Concluímos que a cultura do faça você mesmo configura-se como um princípio básico da cibercultura e percebemos que está havendo uma inversão na lógica da indústria cultural, que antes determinava o que o público iria consumir, e agora busca no público novas formas de obter lucro.

O objetivo deste trabalho é investigar a proposta literária do escritor alagoano Graciliano Ramos que conceituamos como ficcionalização de si, a qual consiste na utilização de observação, experiência, imaginação e transpiração como ingredientes da elaboração ficcional. Para atingir a tal objetivo, buscamos traçar um breve panorama político-cultural da década de 1930, no sentido de situar a formação ideológica e a produção mais significativa do autor Caetés (1933), S. Bernardo (1934), Angústia (1936) e Vidas Secas (1938). Prosseguimos com a construção de um amplo painel sobre o papel da memória na escrita de si, concluindo sobre a impossibilidade da fidelidade absoluta na reprodução do real, uma vez que esta passa necessariamente pela subjetividade da linguagem, o que lhe confere um inegável caráter ficcional. Conceituamos autobiografia e refletimos sobre as profundas alterações percebidas no gênero autobiográfico, inserindo a produção de Graciliano Ramos no contexto memorialista. Defendemos a ideia de que o escritor antecipa, na década de 30, o que na década de 70 será denominado como autoficção. Construída a fundamentação teórica necessária, passamos a analisar e discutir trechos do romance Angústia, em contraponto com Infância. Confrontando as leituras destas obras, pudemos perceber o aproveitamento ficcional de acontecimentos traumáticos da infância do autor narrados em Infância na elaboração da fase infantil do personagem Luís da Silva, de Angústia / The purpose of this paper is to highlight the literary proposal of the writer from Alagoas Graciliano Ramos that we define as "fictionalize yourself", which is the use of observation, experience, imagination and sweating as ingredients of fictional work. To achieve this goal, we seek to draw a brief political-cultural panorama of the 1930s, to situate the ideological training and the authors most significant production Caetés (1933), S. Bernardo (1934), Angústia (1936) and Vidas Secas (1938). We continued with the construction of a large Panel on the role of memory in "write on yourself", concluding on the impossibility of absolute fidelity reproduction of reality, since this necessarily passes by the subjectivity of language, which gives it an undeniable fictional character. We conceptualize autobiography and reflect in the deep changes realized in autobiographical genre, entering production in the context of memoirist Graciliano Ramos. We defend the idea that the writer anticipates, in the 1930s, that in the 1970s will be named as Self-fiction. After constructing the necessary theoretical background, we analyze and discuss excerpts from the novel Angústia, in counterpoint with Infância. Confronting the readings of these works, we are able to understand the fictional usage of traumatic events during the author's childhood as narrated in Infância in the elaboration of the child stage of the character Luís da Silva, in Angústia

Esta pesquisa inscreve-se no cenário da formação inicial com alunas de Curso Normal com idade de 14 a 18 anos, de uma escola de internato situada no município de Estrela, interior do estado do Rio Grande do Sul. O principal objetivo da pesquisa foi propor um experimento com essas alunas, fazendo uso da escrita de cartas e da arte contemporânea, a partir de experiências minhas, na vida escolar e profissional. Para tanto, ofereci oficinas sobre escrita como uma maneira de convidar as alunas a pensar sobre os processos de formação, na escola e na vida. Utilizei-me das discussões a respeito do cuidado de si estudado por Foucault, as relacionando em alguns momentos com as teorizações trazidas por Nietzsche. Foram realizados 11 encontros entre 2010 e 2011, organizados a partir de exercícios de escrita, como também da recepção de obras de artistas contemporâneos que trabalham com a escrita, tais como León Ferrari, Mira Schendel, Elida Tessler e Jorge Macchi. Estes encontros tornaram-se um espaço de conversa e pensamento sobre si mesmo e de intensificação das relações sociais no âmbito da formação inicial docente. O corpo empírico do trabalho compõe-se das cartas produzidas pelas alunas (cartas-vontade a partir da história “A bolsa amarela”, cartas a partir de obras dos artistas contemporâneos analisados e cartas-avaliações produzidas no último encontro), como de anotações em um diário de campo e as escritas de um diário coletivo, realizadas a cada encontro por uma aluna diferente. A análise dos materiais aconteceu a partir de relações tecidas a partir das potencialidades das escritas produzidas, a saber: (Re)pensar alguns modos de ser e olhar pelas misturas em arte e escrita (artescrita), possibilidade de deslocamentos e recomposições de si. Neste trabalho, situa-se a prática de escrita na proximidade do cuidado de si e as oficinas como espaço de experimentação que pretende problematizar algumas verdades sobre os modos de ser professor, aluno e adolescente buscando transformar estas verdades, em princípio racional, criando um estilo próprio de vida. Convida-se a pensar, na arte contemporânea como uma técnica do cuidado de si, aprender com os artistas a (de)compor a composição da escrita utilizada normalmente na escola, deslocar algumas naturalidades nos modos de pensar, e pensar outras maneiras para se compor reinventar-se, ainda que sem garantias, favorecendo o pensar sobre si, sobre os outros numa tentativa incansável de desfocar o olhar, a fim de empreender um projeto ético de estar atento as próprias ações. Uma maneira de constituir-se sujeito e professor, com a possibilidade de inúmeras composições. / This research is part of the stage of initial training in the Teaching Profession Course students aged 14-18 years in a boarding school located in the city of Estrela, the state of Rio Grande do Sul . The main objective of this research was to propose an experiment with these students, making use of letter writing and contemporary art, from my experiences in school and professional life. To this It was offered workshops on writing as a way to invite the students to think about the processes of formation, in school and in life. I drew the discussions about the care of oneself, studied by Foucault, relating them in some moments with the theories brought by Nietzsche. Eleven meetings were held between 2010 and 2011, arranged from writing exercises, as well as the reception of works by contemporary artists who work with writing, such as León Ferrari, Mira Schendel, Elida Tessler and Jorge Macchi, in an area of talking and thought about yourself and intensification of social relations in the context of initial teacher training. The empirical body of work consists of the letters produced by the students (letters-will from the story "The yellow bag," Letters from the works of contemporary artists analyzed and letters-assessments produced at the last meeting), as notes in a diary and writings of a collective diary, held every other meeting by a different student. The analysis of the materials came from relationships made regarding the potential of the records produced, namely: (Re) thinking in some ways of being and look for mixes art and writing (written art), possibility of dislocation and shifts yourself. In this paper, stands out the practice of writing in the proximity of self-care and workshops as a space of experimentation that intend to discuss some truths about the ways of being a teacher, student, youth, seeking to turn these truths in rational principle, creating an own life style. You are invited to think, in contemporary art as a technique of self-care, learning from the artists (de) compose a written composition normally used in school, to dislocate some naturalities in ways of thinking, and thinking about other ways to compose reinvent itself, even without guarantees, favoring the think about yourself, about others in a restless attempt to blur the gaze in order to undertake an ethical project to be aware to the own actions. One way to constitute subject and teacher, with the possibility of numerous compositions.

Esta pesquisa inscreve-se no cenário da formação inicial com alunas de Curso Normal com idade de 14 a 18 anos, de uma escola de internato situada no município de Estrela, interior do estado do Rio Grande do Sul. O principal objetivo da pesquisa foi propor um experimento com essas alunas, fazendo uso da escrita de cartas e da arte contemporânea, a partir de experiências minhas, na vida escolar e profissional. Para tanto, ofereci oficinas sobre escrita como uma maneira de convidar as alunas a pensar sobre os processos de formação, na escola e na vida. Utilizei-me das discussões a respeito do cuidado de si estudado por Foucault, as relacionando em alguns momentos com as teorizações trazidas por Nietzsche. Foram realizados 11 encontros entre 2010 e 2011, organizados a partir de exercícios de escrita, como também da recepção de obras de artistas contemporâneos que trabalham com a escrita, tais como León Ferrari, Mira Schendel, Elida Tessler e Jorge Macchi. Estes encontros tornaram-se um espaço de conversa e pensamento sobre si mesmo e de intensificação das relações sociais no âmbito da formação inicial docente. O corpo empírico do trabalho compõe-se das cartas produzidas pelas alunas (cartas-vontade a partir da história “A bolsa amarela”, cartas a partir de obras dos artistas contemporâneos analisados e cartas-avaliações produzidas no último encontro), como de anotações em um diário de campo e as escritas de um diário coletivo, realizadas a cada encontro por uma aluna diferente. A análise dos materiais aconteceu a partir de relações tecidas a partir das potencialidades das escritas produzidas, a saber: (Re)pensar alguns modos de ser e olhar pelas misturas em arte e escrita (artescrita), possibilidade de deslocamentos e recomposições de si. Neste trabalho, situa-se a prática de escrita na proximidade do cuidado de si e as oficinas como espaço de experimentação que pretende problematizar algumas verdades sobre os modos de ser professor, aluno e adolescente buscando transformar estas verdades, em princípio racional, criando um estilo próprio de vida. Convida-se a pensar, na arte contemporânea como uma técnica do cuidado de si, aprender com os artistas a (de)compor a composição da escrita utilizada normalmente na escola, deslocar algumas naturalidades nos modos de pensar, e pensar outras maneiras para se compor reinventar-se, ainda que sem garantias, favorecendo o pensar sobre si, sobre os outros numa tentativa incansável de desfocar o olhar, a fim de empreender um projeto ético de estar atento as próprias ações. Uma maneira de constituir-se sujeito e professor, com a possibilidade de inúmeras composições. / This research is part of the stage of initial training in the Teaching Profession Course students aged 14-18 years in a boarding school located in the city of Estrela, the state of Rio Grande do Sul . The main objective of this research was to propose an experiment with these students, making use of letter writing and contemporary art, from my experiences in school and professional life. To this It was offered workshops on writing as a way to invite the students to think about the processes of formation, in school and in life. I drew the discussions about the care of oneself, studied by Foucault, relating them in some moments with the theories brought by Nietzsche. Eleven meetings were held between 2010 and 2011, arranged from writing exercises, as well as the reception of works by contemporary artists who work with writing, such as León Ferrari, Mira Schendel, Elida Tessler and Jorge Macchi, in an area of talking and thought about yourself and intensification of social relations in the context of initial teacher training. The empirical body of work consists of the letters produced by the students (letters-will from the story "The yellow bag," Letters from the works of contemporary artists analyzed and letters-assessments produced at the last meeting), as notes in a diary and writings of a collective diary, held every other meeting by a different student. The analysis of the materials came from relationships made regarding the potential of the records produced, namely: (Re) thinking in some ways of being and look for mixes art and writing (written art), possibility of dislocation and shifts yourself. In this paper, stands out the practice of writing in the proximity of self-care and workshops as a space of experimentation that intend to discuss some truths about the ways of being a teacher, student, youth, seeking to turn these truths in rational principle, creating an own life style. You are invited to think, in contemporary art as a technique of self-care, learning from the artists (de) compose a written composition normally used in school, to dislocate some naturalities in ways of thinking, and thinking about other ways to compose reinvent itself, even without guarantees, favoring the think about yourself, about others in a restless attempt to blur the gaze in order to undertake an ethical project to be aware to the own actions. One way to constitute subject and teacher, with the possibility of numerous compositions.

Les FabLabs, les hackerspaces et les makerspaces sont des ateliers collectifs équipés de machines à commandes numériques et organisés en réseau. Ces lieux s’inscrivent dans l’élan du mouvement maker et dans l’héritage des hackers. Ils se présentent comme des espaces ouverts à tous et pour tout faire. Malgré une forte médiatisation, la réalité des discours et des pratiques qui s’y développent est encore peu étudiée. Cette thèse en esthétique et en design s’appuie sur une vaste enquête ethnographique menée de 2012 à 2015 au coeur de ces communautés, en France et à l’étranger.De nombreux entretiens et observations dessinées permettent une description critique des manières de faire rencontrées sur ces terrains.Les pratiques, les discours et les ambitions de la fabrication numérique personnelle se construisent dans les marges des territoires classiques de l’industrie et du design et en brouillent les cadres historiques. La première partie de la thèse retrace les origines des mouvements maker et hacker et des FabLabs. En s’appuyant sur des données de première mains et sur des récits plus classiques, elle montre comment la contre-culture américaine et les ambitions technophilesdes chercheurs du MIT rencontrent des appropriations locales divergentes.La réhabilitation du plaisir au travail et l’héritage des Arts and Crafts sont deux aspects qui permettent d’envisager ces lieux comme des terrains d’expérimentation sociale, au-delà de la stricte production. Dans la deuxième partie, la thèse se concentre sur les valeurs d’ouverture et de partage prônées par les amateurs, bricoleurs, makers ou inventeurs contemporains. L’hypothèse d’un design ouvert et participatif conçu hors des standards de la production industrielle de masse est examinée. L’« open design » place la production d’objets dans le sillage de l’open source. Les résultats de ce type de production dessinent les contours encore fl ous d’un territoire nouveau pour le design.La troisième partie étudie les promesses et contradictions qui entourent la démocratisation de l’innovation et de la production. L’impression 3D est prise comme cas d’étude emblématique pour étudier les ambivalences de l’émancipation espérée par les porteparoles du mouvement maker. Ces pratiques hésitantes nourrissent les ramifi cations de ce que nous proposons d’appeler un design diffus. Celui-ci se développe par tâtonnements dans les communautés d’amateurs et touche à des activités créatives d’invention, de Conception et de fabrication.L’étendue rhizomatique des manières de faire propresau design diff us est composée d’objets sans apparat,situés dans les marges de l’industrie. Selon la défi nitionqui en est proposée, ils sont conçus de manière ouverteet documentée dans l’objectif d’explorer et de contribuerà la découverte des technologies de la fabricationnumérique personnelle. Sans constituer de paradigmeclos, le design diff us détourne les normes instituées etles procédures classiques du design et de l’industriepour proposer une conception exploratoire et ouverte dela fabrication. / FabLabs, hackerspaces and makerspaces are shared workshops, equipped with digital tools and organised in a network. These places are connected to the maker movement and are heirs to hackers.They off er themselves as places where anybody can come and make anything. In spite of some strong media coverage, the reality of discourses and practices that occur in those places has not yet been much studied. This dissertation in Aesthetics and design is based on a large ethnographic survey conducted between 2012 and 2015, in France and abroad. A series of interviews and drawn observations allows for a critical description of the ways of doing that can be witnessed on these fields. Practices, discourses and ambitions of personal digital fabrication are built in the margins of the classical fields of industry and design, blurring their historical frames. The fi rst part of this dissertation retraces the origins of FabLabs as well as of the maker and hacker movements. First hand data and classical accounts reveal how American counter-culture and the technophile ambitions of MIT researchers result in diverging local appropriations.The rehabilitation of pleasure at work and the heritage of the Arts and Crafts both point to these places as fields ofsocial experimentation, beyond mere production. In the second part, this dissertation focuses on the values of openness and sharing advocated by contemporary amateurs, tinkerers, makers or inventors. The hypothesis of a design that could be open, participative, out of the standards of industrial mass production is examined. « Open design » places the production of artefacts in the wake of open source. This type of production ends up shaping a new, though hazy, field for design.The third part studies the promises and contradictions that surround the democratization of innovation and production. 3D printing is taken as an emblematic case study to consider the ambivalences behind the emancipation expected by representatives of the maker movement.These indecisive practices feed the branches of what we might call 'diff use design'. It develops itself by trial and error in amateur communities and reaches creative activities of invention, conception and fabrication. The rhizomatic area of diff use design comprises rather plain objects, situated in the margins of industry. According to this defi nition, they are produced in an open and documented way, in order to explore and contribute to the discovery of digital fabricationtechnologies. Diff use design is not a closed paradigm, but turns away from instituted norms and off ers an openand exploratory conception of fabrication.

En relation avec la pratique artistique de l’auteur, cette recherche se développe autour de la questiondes comportements du spectateur de l’art contemporain dans l’espace de l’œuvre, en France.L’art intègre depuis les années 1960 le spectateur, appelant sa participation ou le tenant volontairement à distance. Les oeuvres ne nécessitent plus une attitude contemplative, espèrent le visiteur actif voire acteur du déroulement de la création. Mais l’observation de ses comportements révèle également un rapport inédit à l’espace de l’art : certains publics y voient une continuité de la rue, et leur réception s’en ressent. L’étude de cette nouvelle figure du spectateur mène à interroger les outils que lui proposent les structures, afin que sa rencontre avec l’œuvre ne soit pas vaine : la médiation est développée, accompagnement nécessaire mais potentiel obstacle à une interprétation personnelle. Elle est aussi une vitrine de la démocratisation culturelle ; comme d’autres missions des lieux d’art, elle a pour fonction d’attirer et de fidéliser des publics peu sensibles à l’art actuel. Les espaces de consommation, de repos peuvent les inciter à dépasser le seuil des lieux d’exposition, qui doivent s’adapter aux diverses attentes – souvent contradictoires – des artistes et du public, et aux exigences politiques.L’auteur donne forme plastique à ces préoccupations dans une installation traduisant, par une pratique du bricolage qui lui est propre, l’enfouissement de l’œuvre sous les discours de médiation et les diverses préoccupations concernant l’accueil des spectateurs. Que devient l’œuvre lorsque le contexte de l’art occupe plus de place dans les discours que l’art lui-même ? / In conjunction with the creator’s artistic practice, this research develops the issue of the contemporary art spectator’s behaviors in art spaces in France.Art has integrated the visitor since the 1960’s, calling upon his participation or voluntarily keeping him at a distance. The works do not require a contemplative attitude anymore, but would rather the visitor be active or even an actor in the creation process. But observing these behaviors equally reveals a new relationship with art spaces: certain publics consider them a continuation of the street, which plays out in their reception of the artwork. The study of this new type of spectator brings about an inquiry of the tools with which organizations provide him so that his encounter with the artwork is not in vain: mediation is developed, a necessary guide, but also a potential obstacle to a personal interpretation. It is also a showcase of cultural democratization. Like other arts centers’ missions, mediation is meant to attract and develop the public’s loyalty, especially for those who are not aware of contemporary art.Consumption and leisure spaces can incite them to enter the exhibition space, which must be adapted to political requirements and to the often contradictory expectations of the artists and of the public. The creator gives his interests a visual form in an installation, using his own methods and thus translating the artwork’s meaning, hidden beneath mediation, and the different concerns around the public’s reception. What does the work of art become once the context takes center stage in the discussion on art itself ?