Information System: Transport Dynamic Cartography in Alsace.

International audienceThe issue of the presented work is to publish on line a dynamic cartography system of the transport traffic evaluation, based upon the Alsace (France) regional level experiment. After a large design work of a transport database, arose questions about accessibility, data updating, choice of information processing systems, and development of Internet tools. Three points of view will be approached: the system design from the user point of view, the raised questions of communication and the data-processing. The synthesis allows analyzing the experiment of the installation of a Catalyse tool at a public State level service, at a French "région" level

Art and contemporary critical practice: Reinventing institutional critique

266 p.Libro Electrónico'Institutional critique' is best known through the critical practice that developed in the late 1960s and early 1970s by artists who presented radical challenges to the museum and gallery system.Since then it has been pushed in new directions by new generations of artists registering and responding to the global transformations of contemporary life. The essays collected in this volume explore this legacy and develop the models of institutional critique in ways that go well beyond the field of art.Contributors vii Acknowledgments xi Preface xiii WHAT IS INSTITUTIONAL CRITIQUE? 1 Instituent Practices: Fleeing, Instituting, Transforming 3 2 The Institution of Critique 13 3 Anti-Canonization: The Differential Knowledge of Institutional Critique 21 4 Notes on Institutional Critique 29 5 Criticism without Crisis: Crisis without Criticism 33 6 Artistic Internationalism and Institutional Critique 43 7 Extradisciplinary Investigations: Towards a New Critique of Institutions 53 8 Louise Lawler’s Rude Museum 63 9 Toward a Critical Art Theory 79 10 Anthropology and Theory of Institutions 95 11 What is Critique? Suspension and Re-Composition in Textual and Social Machines 113 12 Attempt to Think the Plebeian: Exodus and Constituting as Critique 131 13 Inside and Outside the Art Institution: Self-Valorization and Montage in Contemporary Art 141 14 The Rise and Fall of New Institutionalism: Perspectives on a Possible Future 155 15 The Political Form of Coordination 161 INSTITUENT PRACTICES AND MONSTER INSTITUTIONS 16 Instituent Practices, No. 2: Institutional Critique, Constituent Power, and the Persistence of Instituting 173 17 Governmentality and Self-Precarization: On the Normalization of Cultural Producers 187 18 To Embody Critique: Some Theses, Some Examples 203 19 The Double Meaning of Destitution 211 20 Towards New Political Creations: Movements, Institutions, New Militancy 223 21 Mental Prototypes and Monster Institutions: Some Notes by Way of an Introduction 237 Bibliography 247 The Transform Project issues of transversal 26

The Wolf-Girl Nomadic: Becoming-Animal and Post-Human Feminine Subjectivity in Angela Carter’s "Peter and the Wolf"

Calling upon a post-structuralist post-humanist account of Angela Carter&rsquo;s short story &ldquo;Peter and the Wolf,&rdquo; it is necessary to take an approach such as this in order to facilitate the articulation of potentiality as well as explore different perspectives through Carter&rsquo;s use of animals in her &ldquo;re-tellings.&rdquo; With this in mind, one can allow her work to flow freely through multiple disciplines and discourses such that, like the animals she writes about, a nomadic feminine subjectivity would be better suited for examining the benefits of its methodological practicality. When re-telling a story from not only a feminine perspective but also one that contains the female figuration as that of a wolf, Carter opens up the feminine subjectivity onto the terrain of Deleuze and Guattari&rsquo;s ideas on &ldquo;becoming&rdquo; and Rosi Braidotti&rsquo;s nomadic theory. Ultimately this concludes on the matter that the question of the animal itself is one that holds especially imaginative means of critique through difference, rather than in comparison with traditionally &ldquo;human&rdquo; means of discourse.</p

Management guru

This thesis considers how the reader can become a management guru. To this end, it examines the history of management ideas in the period 1890-1990, and identifies those which have achieved widespread popularity. A management idea is the generic term used to refer to any research finding, theory, concept, framework or prescription that maintains currency within the world of management and management education and training. The thesis accounts for the popularity of these ideas. It argues that four sets of factors contribute to the establishment of the popularity of a management idea. First, the idea has to be timely, that is, in tune with social, economic and political concerns of the period. Second, it has to achieve a high level of visibility in order to gain managers’ awareness of its existence. Third, it should address the relatively stable and enduring set of managerial needs. Fourth, the idea should, in its content and design, be perceived by the managers as capable of fulfilling those needs. Five literature reviews were carried out. The first identified the six most popular management idea "families". The second was a historical review of the social, economic and political factors which formed the historical milieus from which these idea families evolved. The third literature review uncovered twelve recurring features of these popular management ideas. The fourth examined managers’ needs for such ideas, and the fifth examined how management ideas were marketed by companies and consultants. These literature reviews produced a set of hypotheses, some of which were tested in the empirical part of the study. These related primarily to the link between management needs and the characteristics of the ideas themselves. Both business school academics’ and managers’ reactions to different management ideas were assessed from a phenomenological perspective. This utilised self-completed questionnaires and the analysis of interview transcripts. The research conclusions are that the popularity of a management idea can both be predicted and planned for by enterprising and aspiring management gurus, be they business school faculty or management consultants. The application of the principles described in this thesis should secure for them, both fame and fortune

Ono što tijelo može postati: kartografija između plesa i filozofije

This thesis does not explore what body is, but what a body can become. It explores the body as event-in-making throughout the concepts such as Body without Organs (Antonin Artaud, Gilles Deleuze and Félix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). What all of those concepts have in common is the same state - a state of becoming. Here, body becomes, and as such - it is a verb, an activity, a force. This thesis does not only explore the body as a force of becoming, but it also explores the becoming of that force - at the molecular, experiential and relational level. As Manning says, a body is always more-than one. Here, we are trying to approach the physical, experiential and relational becomings of a body in movement. That which moves the body from the state of being into the state of becoming is movement. This thesis is trying to show how movement never stops. We always move, therefore, there is a continuity of becoming. A body is never just a form, but a force-form. Movement is that which opens the body toward its becoming of force(s). A moving body is not a form of expression, but a forcefield of expressivity. Movement connects the body to its very field of expressivity where the body starts to dance its capacities to do, produce and become. The body is never predetermined or finished - at the physical, experiential or relational level - but it is an ongoing movement. Movement makes the body, therefore, the body itself is a movement. We are not dancing with the body, we are dancing the body itself. The body is a score, a body-score, of its own becoming. We are not interested in what, for example, a heart is, but we are interested in molecular, experiential and relational becomings of a heart; we are interested in what a heart can become. Organs are not expressions, but flows, intensities, fields of expressivity. This thesis is an attempt to map those flows - performative and conceptual ones - and to redirect them toward new becomings.Ova teza ne istražuje ono što tijelo jest, već ono što tijelo može postati. Ova teza istražuje tijelo kao događaj u nastajanju kroz koncepte kao što su Tijelo bez Organa (Antonon Artaud, Gilles Deleuze i Felix Guattari), bodying (Erin Manning), body-in-making (Erin Manning). Ono što svi ti koncepti dijele jest isto stanje - stanje postajanja. Tijelo neprestano postaje i kao takvo - ono je glagol, aktivnost, sila. Ova teza ne istražuje samo tijelo kao silu postajanja, već i postajanje te sile - na molekularnoj, iskustvenoj i relacijskoj razini. Kao što kaže Manning, tijelo je uvijek više nego "jedno". Ovdje pokušavamo pristupiti fizičkim, iskustvenim i relacijskim postajanjima tijela u pokretu. Ono što pomiče tijelo iz stanja bivanja u stanje postajanja jest pokret. Ova teza pokušava pokazati kako pokret nikada ne prestaje. Kontinuitet pokreta također je i kontinuitetom postajanja. Tijelo nikada nije samo forma, već forma-sila. Pokret otvara tijelo prema njegovom postajanju silom. Tijelo u pokretu nije formom ekspresije, već poljem-silom ekspresivnosti. Pokret povezuje tijelo s njegovim poljem ekspresivnosti gdje tijelo počinje plesati svoj potencijal činjenja, proizvođenja i postajanja. Tijelo nikada nije unaprijed zadano ili dovršeno - na fizičkoj, iskustvenoj ili relacijskoj razini - već je kontinuiranim pokretom. Pokret čini tijelo, dakle, tijelo je pokret. Ne plešemo s tijelom, već plešemo tijelo kao takvo. Tijelo je partitura, tijelo-partitura, vlastitog postajanja. Ne zanima nas što je, na primjer, srce, već nas zanimaju molekularna, iskustvena i relacijska postajanja srca; zanima nas samo ono što srce može postati. Organi nisu ekspresije, već tokovi, intenziteti, polja ekspresivnosti. Ova je teza pokušaj mapiranja tih tokova - performativnih i konceptualnih - te njihova preusmjerenja spram novih postajanja.Cette thèse n'explore pas ce qu'est le corps, mais ce qu'un corps peut devenir. Elle explore le corps comme un événement en train de se faire à travers les concepts tels que le Corps sans Organes (Antonin Artaud, Gilles Deleuze et Félix Guattari), le bodying (Erin Manning), le corps en train de se faire (Erin Manning) et le devenir (Gilles Deleuze et Félix Guattari). Ce que tous ces concepts ont en commun est l'état de devenir. Ici, le corps devient, et en tant que tel - c'est un verbe, une activité, une force. Cette thèse explore non seulement le corps comme une force de devenir, mais elle explore également le devenir de cette force - au niveau moléculaire, expérientiel et relationnel. Comme le dit Manning, un corps est toujours plus qu'un corps. Ici, nous essayons d'aborder les devenirs physiques, expérientiels et relationnels d'un corps en mouvement. Ce qui bouge le corps de l'état d'être vers l'état de devenir est le mouvement. Cette thèse tente de montrer comment le mouvement ne s'arrête jamais. Nous bougeons toujours, donc, il y a une continuité de devenir. Un corps n'est jamais uniquement une forme, il est une force-forme. Le mouvement est celui qui ouvre le corps vers son devenir de force(s). Un corps en mouvement n'est pas une forme d'expression, mais une force d'expressivité. Le mouvement relie le corps à sa force d'expressivité où le corps commence à danser ses capacités à faire, à produire et à devenir. Le corps n'est jamais prédéterminé ou fini - au niveau physique, expérientiel ou relationnel - il est un mouvement continu. Le mouvement fait le corps, par conséquent, le corps lui-même est un mouvement. Nous ne dansons pas avec le corps, nous dansons le corps lui-même. Le corps est une partition, un corps-partition, de son devenir. Nous ne nous intéressons pas, par exemple, à ce qu'est un cœur, mais nous sommes intéressés par les devenirs moléculaires, expérientiels et relationnels d'un cœur ; nous sommes intéressés par ce qu'un cœur peut devenir. Les organes ne sont pas des expressions, mais des flux, des intensités, des champs d'expressivité. Cette thèse tente de cartographier ces flux - performatifs et conceptuels - et de les réorienter vers de nouveaux devenirs

‘Los Caminos de la Medicina’: The life of medicinal plants from the Amazonian forest to the urban markets

This dissertation is a multispecies exploration of the trade of medicinal plants in the Andean-Amazonian region of southern Colombia. It seeks to highlight the complex multilayered networks of relationships that make up folk medicine in the country by following the medicinal plants as main ethnographic subjects. It explores the roles each medicinal plant plays as it is grown, harvested, transformed, exchanged and used by different people. It also highlights a crucial axis in this region, the lowland highland dynamic, since their trade connects lowland indigenous communities to highland Andean healers and markets, facilitating not only a space for material transformation but also spaces of cultural exchange. This study has focused on six representative botanical species: Elaeagia pastoensis L.E. Mora, Maytenus laevis, Brugmansia Sp, Cyperus Sp., Banisteropsis caapi and Ethryxolyum sp. All these plants have essential roles in these trade networks being active agents in the way people perceive their health, the environment, their relationships with others, and their own identity. By using material culture methodology, this study explors the techniques in making, using and exchanging these medicines following the cultural rationales, thinking processes, and cosmological understandings that make them possible. This methodology also facilitates an analysis of the ways that the medicines are continually reimagined and reinterpreted by different people as they travel through the commodity chains, being incorporated into different ways of understanding health and the world

Tartu Ülikooli toimetised. Tööd semiootika alalt. 1964-1992. 0259-4668

http://www.ester.ee/record=b1331700*es

Politicising 'independent' curatorial practice under neoliberalism: critical responses to the structural pressures of project-making

This practice-based research discusses critical responses to the structural pressures of 'independent' curating under neoliberalism. The study argues for politicising project-making in accordance with such values as equality, collective autonomy and interdependency. The argument contributes to current debates about the practical plausibility of politicising project-related modes of production in the expanded field of art. The thesis acknowledges that 'independent' curators are culturally and economically dependent on the same apparatus that they want to contest. My work approaches this basic contradiction as a practical and conceptual challenge that prompts a series of questions as to how to practice within the apparatus, whilst at the same time resisting the social pressures of the very same system. The methodology merges sociological analysis of the social conditions of 'independent' curating with the tacit knowledge of the forms of curatorial resistance elicited by the pressures discussed. Thus, I set aside the aesthetical contents of curatorial projects and focus on their social forms. Utilising Walter Benjamin s concepts from The Author as Producer (1934), I argue that to politicise project-making, an 'independent' curator is required to intervene in the social apparatuses of curatorial production. The thesis reveals a number of social pressures, which manifest themselves in 'independent' curatorial practice and analyses tactics that 'independent' curators develop in response to those pressures. I interpret the examples of curatorial practice, submitted to evidence my argument, both as symptoms of those social pressures and as sites of politicised, curatorial intervention. To analyse politicised curating, I introduce two central terms 'the apparatus of project-making' and 'radical opportunism'. These terms facilitate the analysis of the intrinsic contradictions and ethical complexities of politicised curating. I apply this conceptual framework to the different aspects of project-making, analysing temporal structures, modes of governance and competitive features of the apparatus, alongside politicised, curatorial responses to the pressures discussed. In order to discuss curatorial tactics that respond to the social pressures of project-making, I introduce new terms, such as 'free/slowness', 'neither a project nor an institution' and 'interdependent curating', discussed in the consecutive Chapters