Дисертації з теми "Philosophy in art and politics"
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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
Повний текст джерелаKim, Byoungjae. "Sympathy and reflection in Hume's philosophy : mind, morals, art and politics." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12958/.
Повний текст джерелаWillis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
Повний текст джерелаMay, Adrian. "Lignes, an intellectual revue : twenty-five years of politics, philosophy, art and literature." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/251334.
Повний текст джерелаTervo, Juuso Ville. "Corrosive Subjectifications: Theorizing Radical Politics of Art Education in the Intersection of Jacques Ranciere and Giorgio Agamben." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405954690.
Повний текст джерелаDaniels, John D. (John David) 1946. "The Political Philosophy of Sam Houston." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501136/.
Повний текст джерелаAcosta, Maria del Rosario. "The Dialogue that We Are: Understanding as a Space for Politics." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112870.
Повний текст джерелаEl presente artículo tiene como tarea principal señalar algunos aspectos que hacen pertinente a la hermenéutica dentro del marco de la discusión política, defendiéndola de los ataques que se le han propugnado sobre todo desde una fi losofía de la conciencia crítica como la de Habermas, Adorno y algunos de sus seguidores. Se mostrará, a partir de Gadamer, cómo la hermenéutica responde a dichas críticas en el marco de su propuesta de la comprensión como tarea fundamental y como espacio político primordial. Frente a una fi losofía que apela a la necesidad de una toma de distancia” como punto de partida de la crítica, único lugar de una verdadera fi losofía y acción políticas, la hermenéutica de Gadamer presenta una alternativa que vale la pena ser rescatada: es en el diá-logo, en el espacio compartido de la comprensión, más que en la crítica, donde el hombre des-encubre las posibilidades de lo que es, donde se da la apertura de su libertad, y, por consiguiente, donde se desenvuelve, en la acción, antes que en la refl exión, el espacio de lo político.
Abbott, Janet Gail. "Synthesis of the Personal and the Political in the Works of May Stevens." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277656/.
Повний текст джерелаGiordano, John. "Between Conviviality and Antagonism| Transactionalism in Contemporary Art Social Practice and Political Life." Thesis, Union Institute and University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3663907.
Повний текст джерелаThe rise of social practice art in Europe and North America since the 1990s has provoked a variety of critical alignments and contestations around multi-authored "post-studio" artwork, aimed at collapsing the boundaries between visual and performing art, and between art and everyday life. One of the most visible and impassioned contestations has centered on the value assigned by different critics to so-called convivial and antagonistic directions for social practice art. This project enters the debate on collaborative and participatory art by highlighting the commonalities between the turn away from spectatorialism in philosophy and the politically-driven, activist social practices coming out of the visual arts. Contending that the more salient problems under debate revolve around what art historian Grant Kester has described as "a series of largely unproductive debates over the epistemological status of the work," I focus on the way different epistemological frames impact the reception of convivial and antagonistic directions in art. With attention to the theory and criticism of Clare Bishop, Grant Kester, Shannon Jackson and Tom Finkelpearl, I examine how a variety of epistemological frames both reflect the work's values around social change, and also impact the critical lenses through which such values are communicated to the public through art criticism. While Bishop raises important questions around the limits of a turn against traditional art spectatorship and singular authorship of visual art, I claim that her view of a convivial tendency in social practice art overlooks key epistemological insights embodied in feminist standpoint theory and American pragmatist epistemology. I contend that John Dewey's view of knowledge as transactional captures the epistemological framing of some of the more socially ameliorative directions social practice work has taken in recent decades because Dewey rejects a view of knowledge that divides subjective entities from each other and from their wider environments. Bishop's traditional spectatorship model fails to capture the aesthetico-political ethos of an area of art that acknowledges the fragile contingency of standpoints. I show that the criticism of Kester, Jackson and Finkelpearl recognize this contingency and then enlarge their perspectives by bringing attention to feminist standpoint theory and pragmatist aesthetics and epistemology. I conclude by claiming that a more robust way of understanding the value of social practices in art recognizes that transactional and contingent standpoints demand an ethos rooted in the continuity of convivial and antagonistic features of aesthetico-political experience.
Bannister, Randee. "The appreciation of political works of art: The example of "Triumph of the Will"." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26573.
Повний текст джерелаBeaumont, Tim John. "Mill, Method, and the Art of Life." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493435.
Повний текст джерелаGovernment
Sunderland, Sophie Monica May. "Representations of the secular : neutrality, spirituality and mourning in Australia and Canadian cultural politics." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0177.
Повний текст джерелаMcAnally, Elizabeth Ann. "Toward a philosophy of water: Politics of the pollution and damming along the Ganges River." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3643/.
Повний текст джерелаDykstal, Timothy. "The luxury of skepticism : politics, philosophy, and dialogue in the English public sphere, 1660-1740 /." Charlottesville (Va.) : University press of Virginia, 2001. http://catalogue.bnf.fr/ark:/12148/cb376467388.
Повний текст джерелаPascarella, John Antonio. "Friendship, Politics, and the Good in Aristotle's Nicomachean Ethics." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801900/.
Повний текст джерелаHardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
Повний текст джерелаSiani, Alberto L. "Il destino della modernità : arte e politica in Hegel." Doctoral thesis, Scuola Normale Superiore, 2009. http://hdl.handle.net/11384/86121.
Повний текст джерелаQuaoser, Nova. "Art's Truth: An Aid to Ethical Sensibility." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2123.
Повний текст джерелаEllery, Margaret. "Making the frontier manifest : the representation of American politics in new age literature /." Connect to this title, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0043.
Повний текст джерелаTurner, Barry John, and barry turner@rmit edu au. "Nasution total people's resistance and organicist thinking in Indonesia." Swinburne University of Technology, 2005. http://adt.lib.swin.edu.au./public/adt-VSWT20060227.095349.
Повний текст джерелаSILVA, Lázaro Aparecido. "Filosofia e política: o sentido da educação e da cultura." Universidade Federal de Goiás, 2007. http://repositorio.bc.ufg.br/tede/handle/tde/1078.
Повний текст джерелаCulture and educational process, reflections about the education meaning, I ask about the reality. Theoretical issue in Hannah Arendt s thinking and others philosophers which she refers, I examine the vita contemplative and the vita active whit its implications in the culture. So, my conclusion is that the means of education isn t to demonstrate how reality is, but how it would became, affirming the metaphysic s merit.
Cultura e processos educacionais, uma reflexão sobre o sentido da educação e da cultura em que indago o significado da realidade. Pesquisa teórica tendo como fundamento o pensamento de Hannah Arendt e pensadores que lhe servem de referência. Investigo a vita contemplativa e a vita activa com suas implicações na filosofia, na política, na educação e na cultura. Concluo que o sentido da educação não é o de mostrar como a realidade é, mas como poderia ser, afirmando o valor da metafísica.
Ellery, Margaret. "Making the frontier manifest : the representation of American politics in new age literature." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0043.
Повний текст джерелаDe, Kock-Wiesener Cornelia. "Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.
Повний текст джерелаENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
Mysak, Mark. "The Environmental is Political: Exploring the Geography of Environmental Justice." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30497/.
Повний текст джерелаRocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
Повний текст джерелаSlaight-Brown, Shannon M. "Restoration." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4890.
Повний текст джерелаGourbin, Gilles. "La politique expérimentale de Diderot." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H218.
Повний текст джерелаIn the past forty years Diderot’s work has enjoyed a wide recognition with one important exception: his politics. The author of “Mémoires pour Catherine II” is usually considered as having “ideas” or “views” on politics but not an elaborate political theory. The absence of a treatise on politics in his nonetheless abundant works led to the conclusion that his varied thoughts on many political objects did not constitute a coherent and constant theory. Contraryto this commonplace belief my research aims to show that there is an authentic political reflexion in his works: his separate political writings not only form a coherent whole but are congruent with his philosophical works. This coherence is already conceived in his “Pensées sur l’interprétation de la nature” which establishes the principles of experimental philosophy, which preside over the creation of the whole of Diderot’s works. This experimental philosophy is less the method from natural sciences applied to politics than a way of thinking first tested on natural realities before applying it to social realities. My research highlights his “experimental politics” in the elaboration of his “political metaphysics” or in his way to experiment writing in politics, as well as in his ideas on the economy, the art of government,the best government, or the seizure of power
Belluigi, Dina Zoe. "Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1003413.
Повний текст джерелаMcGowan, Wayne S. "Thinking about the responsible parent : freedom and educating the child in Western Australia." University of Western Australia. Graduate School of Education, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0014.
Повний текст джерелаKaden, Martha J. "Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.
Повний текст джерела214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.
Segura, Dobjanschi Nicolas. "Beauty and Politics, With Special Reference to Politics." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2112.
Повний текст джерелаZoss, Pascal. "L'ironie cynique : une subjectivation sans partage." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080072/document.
Повний текст джерелаThe performative art practices, especially those of sixties and seventies, present aform of political subjectivation within their excessive and body acts, which invites us toresume Ancient Cynicism’s « short route », out of the interpretations that were faithful to thephilosophical telos of « better life », « good » or « right ». This conjunction is a compelling callfor achieving, beyond the anecdotal or documentary report, a wider understanding of themateriality of acts, of their resistance to any reported lesson and, ultimately, to restesslyquestion their remainder.Furthermore, when grasping the social inclusion and exclusion as the result of cohesivenaturalization, of discrimination of natural abilities and inabilities, the actual testingof this solidarity reaches the core of the equalitarian question. Then, cynical acts draw theoutline which let consider the subjectivation within the constant withdrawal of the subjectfrom his normative or « police » assimilation. Irony relentlessly leaves its marks on this processby hiding the subject in the shadow of his acts, as the ploy of an identification to theincompetent nature of the excluded one. It is indeed by amplifying the exclusion’s naturalrepresentation, by giving it the biggest material density, that the cynicism subjectivationopens a gap between the belongings of included and excluded ones. And this gap, whichrelieves the author of any subjectivity, of the obligation to operate within the « police »regime of inequality, gives its place to the desire with no subject, that very one preciselypresupposed by the equality of subjects
Benson, Steven. "Politics without foundations." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242199.
Повний текст джерелаMarzec, Megan E. "Wastelands, Revolutions, Failures." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429889399.
Повний текст джерелаFinichiu, Ana-Alice. "Territoires entre-deux: agencements, biopolitique et junkspace." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209210.
Повний текст джерелаLe diagnostic de Rem Koolhaas sur les métropoles actuelles montre une ville générique, sans fin, sans identité, sans passé, sans rues, la seule activité qui reste est le shopping et la condition « in-transit » devient universelle. À cette analyse manque une partie très importante, la condition biopolitique de la métropole, qui expliquerait plusieurs des caractéristiques de ce Junkspace, comme le fait qu’il contient la possibilité de résistance face au générique.
À la lumière de ce constat et suivant les directions de pensée que Gilles Deleuze et Félix Guattari ouvrent dans Mille Plateaux, cette thèse propose d’identifier les intervalles témoignant de la dimension biopolitique du Junkspace au travers d’une mobilisation de la théorie des agencements comme hypothèse pour la théorie architecturale et urbaine. Le postulat général est que ces intervalles seraient des territoires entre-deux qui fonctionneraient comme des laboratoires d’agencements témoignant d’une pratique architecturale politique redéfinissant le rôle même de l’architecte.
Trois axes de recherche sont déployés. Le premier interroge la pertinence d’une pensée architecturale en termes d’agencements dans le contexte des transformations actuelles des territoires. À la suite d’un croisement avec la pensée de Deleuze et Guattari l’architecture se comprend dans son processus d’agencement et réagencement. Le second axe interroge la dimension biopolitique du Junkspace identifiant les points critiques de ses agencements et évaluant le paradoxe de l’entre-deux. Le troisième axe met à l’épreuve le potentiel des territoires entre-deux de créer des opportunités pour de nouvelles configurations spatiales.
(english abstract)
Rem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition.
In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect.
Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations.
Doctorat en Art de bâtir et urbanisme
info:eu-repo/semantics/nonPublished
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