Dissertations / Theses on the topic 'Ready-made'

Cette thèse se propose de circonscrire et d'étudier les équivalents littéraires du ready-made duchampien dans la poésie moderne et contemporaine. historiquement issu du domaine des arts plastiques, cette pratique connaît des équivalents poétiques depuis le début du vingtième siècle (cendrars 'dernière heure') sans que l'on puisse pour autant toujours parler d'importation ou d'appropriation de la part des poètes concernés. on essaiera ainsi de définir l'appellation de << poésie ready-made >> dans un sens davantage générique que proprement généalogique, à l'aide de critères permettant de la distinguer de pratiques proches comme le plagiat ou le collage. on essaiera de montrer que, tout comme le ready-made duchampien, ces pratiques bouleversent la conception traditionnelle de la poésie et de l'écriture poétique. qu'on l'envisage en termes de production (le geste d'écriture se voit nié et remplacé par un geste de sélection / prélèvement / déplacement d'éléments non littéraires) ou en termes de réception (les effets de sens du ready-made en poésie reposent en grande partie sur des logiques non discursives, et l'objet déplacé n'est pas nécessairement écrit), la définition du << poétique >> se voit mise en question, amenant par là-même à une << chute des paradigmes >> (thierry de duve), ce qui pose alors la question de savoir quels outils peuvent être mis en place pour analyser ces objets et leur fonctionnement.

Depuis son invention au début du XXe siècle par Marcel Duchamp, le ready-made. Est devenu l'une des références incontournables de l'art contemporain. À l'heure de la , postmodernité, il est même répertorié comme un genre en soi qui regroupe des pratiques très variées. À travers l'utilisation de l'objet chez Armleder, Bijl, Cragg, Dimitrijevic, Koons, Haacke, Lavier ou encore Leccia, Levine, Présence Panchounette, Steinbach, Thomas et Vilmouth, cette diversité permet d'interroger la définition de l'art et les structures qui lui assurent une unité. Le musée et le passé de la création plastique participent à la constitution d'un espace autonome auquel le ready-made est parfaitement intégré. Mais les différences perceptibles obligent à reprendre les problématiques de l' avant-garde et de l'assimilation des oeuvres au sein de la société postindustrielle régie par la consommation. Les oppositions entre les artistes vont à l'encontre d'une représentation homogène 1 qui travaille au consensus: que ce soit à propos de la hiérarchie entre les oeuvres, de l' esthétisation de la production industrielle, de la figure du créateur ou du rapport entre la forme et le signe, les réponses enregistrées témoignent des antagonismes qui parcourent le monde de l'art et fissurent l'expression de sa totalité. Le ready-made est alors l'occasion de repenser la relation entre l'art et la culture et de montrer que seule la fétichisation propre à l'espace marchand est un vecteur d'uniformité.

O efêmero é prerrogativa do mecanismo Moda. Na atualidade, sua face espetacular deriva da necessidade da manutenção da máquina capitalista, onde a utilização do design se encarrega do obsoletismo programado, apontando para o supérfluo e o mascaramento cosmético. A busca incansável pelo ineditismo formal culmina na apropriação por elementos de artisticidade, que reconfiguram a funcionalidade do vestir, agregando ao hibridismo Arte e Moda a pessoalidade e a leitura individual próprias da Arte pós-moderna. Se no Império do Efêmero de Lipovetsky a individualidade comanda o circuito, nesta nova conformação percebemos que a valorização individualizada é permeada por valores coletivos do belo eterno e imutável de Baudelaire, em que a elevação de produtos inicialmente funcionais à categoria de Arte tem a capacidade de transpassar o tempo dos presentes corrediços da contemporaneidade, fazendo com que a moda vestida de Arte se esparrame em direção ao futuro da consagração, numa busca de permanência um pouco além de sua efemeridade inerente.
The ephemeral is the prerogative of Fashion mechanism. Currently its spectacular view derives from the necessity of maintaining the capitalist machine, where the use of design takes care of programmed obsolescence, pointing to the superfluous and masking \"cosmetic\". The endless quest for novelty culminates in the formal appropriation for elements of artistry, that reconfigure the functionality of the dressing, adding hybridity Art and Fashion personhood and their own individual reading of postmodern art. If in the \"The Empire of Fashion: Dressing Modern Democracy\" by Lipovetsky of individuality leads the circuit, this new conformation realize that valuing individual is permeated by collective values of \"eternal and immutable beauty\" by Baudelaire, where the elevation of functional products initially to the category of Art has the ability to pierce the time of these contemporary sliding, making the art dressed in fashion spread toward the future of consecration, in a quest to stay a little ahead of its time inherently ephemererity.

Esta pesquisa teve no debate teórico sobre ready made, pop art e arte conceitual, sua motivação inicial, surgida da crítica ao fechamento intelectual e estético presente nos cânones exigidos pelos currículos escolares no Brasil. As implicações destes conceitos são discutidas em paralelo à elaboração de uma visão crítica das classificações europeias e norte-americanas como matrizes adequadas para a compreensão da criação de artistas como Arthur Bispo do Rosário, Brasil (1919-1988) e de Georges Adéagbo, Benin (1942). De forma complementar, o percurso do pesquisador-artista participa do processo de compreensão e análise. O foco recaia de um lado no material e matéria dos objetos do cotidiano, utilizados na obra de Arthur Bispo do Rosário e nos itinerários das obras de Georges Adéagbo, artista autodidata que expõe suas ideias e narrativas em forma de objetos escultóricos, ocupações de espaços públicos. Eles têm ainda em comum, as metodologias e os processos que espelham conceitos próprios e arqueologias de saberes ligados às suas próprias culturas e sociedades, além de constante construção de suas identidades. Esses processos de pensamento envolvem a ação mental (conceituação ou projeto mental) e a execução das ideias que se reflete em seus trabalhos de arte. O interesse principal de ambos está na análise do cotidiano representado por objetos de origem endógena e exógena que são fundidos e geram aspectos diferentes à materialidade, à narrativa, à desconstrução do próprio objeto como fenômeno (logia) da metamorfose a ele impressa, retirado de seu espaço de significação original, resignificado e ambientado no espaço-ser da arte como pensamento a partir do objeto de Bispo e, na auto-arqueologia inversa de Adéagbo.
This research had its initial motivation the theoretical debate on ready-made, pop art and conceptual art, which comes up from criticism of intellectual and aesthetic closure present in the canons required by the school curriculum in Brazil. The implications of these concepts are discussed in parallel with a critical view of the European and American statements of these matrices for understanding the creation of Arthur Bispo do Rosário, Brazil (1919-1988) and Georges Adéagbo, Benin (1942). In addition, the path of the researcher-artist himself, participates on the understanding and analysis proposed. The focus lies on the one hand, in the everyday objects materials used in the work of Arthur Bispo do Rosário and in the routes of Georges Adéagbo, who is a self-taught artist that exposes his ideas and narratives shaped objects \"sculptural\" and public spaces interventions. They still have in common, their methodology that mirror their own concepts and archaeologies of knowledge linked to their own cultures and societies as well as constant construction of their identities. These thought processes involve mental action (concept or mental project) and implementation of the ideals reflected in his works of art. Both have as their main concern the everyday life presented by fused endogenous and exogenous objects that generate different materiality, narrative and even the deconstruction of the object itself as phenomenology of its metamorphosis, once it was removed from its place of original of meaning, reframed in space-being for Bishop, or in reverse self-archeology for Adéagbo.

La città ready-made. Partecipazione, relazione e azione nel ‘900 è un percorso storico-critico che si snoda lungo tutto il ‘900 alla ricerca degli episodi in cui è possibile riscontrare la partecipazione nelle pratiche estetiche di diverse generazioni di artisti; per imbastire un racconto puntuale e sistematico, inoltre, si è ricorsi ad una metafora genetica che ha riscontrato una fase — corrispondente alla prima metà del secolo — in cui il cromosoma responsabile di tale afflato partecipativo è risultato recessivo e un’altra — corrispondente stavolta alla seconda metà, più o meno dagli anni ’60 ai ’90 — in cui si è potuto registrare, altresì, una dominanza. Ad influire su questi fenomeni e sul loro svolgimento nei decenni, i protagonisti assoluti di questa trattazione: la Città e il Pubblico che, di volta in volta, facendo sentire la loro presenza o facendola venir meno, hanno dettato l’agenda della socio-relazionalità nel ‘900. Si è, inoltre, provveduto a rileggere alcuni episodi estetici al fine di evidenziarne un andamento ciclico e di ripetizione: mentre nella prima metà della ricerca si è scovato il seme della socio-relazionalità nelle visite e nelle derive di dadaisti e situazionisti, nella seconda ci si è concentrati sull’ampia produzione dei collettivi artistici di New York negli anni ’70. A dimostrazione di come la relazionalità non sia un fenomeno esclusivamente legato alla pratica dell’arte degli anni ’90, ma che, con le opportune distinzioni generazionali, è possibile riscontrarne le tracce in tutta la contemporaneità.
The city as a ready-made. Participation, relation and action in the XXI century is a storiographic and critical path through the long run of the last century in order to find every generational episodes in which participation has been used as an aesthetic practice; to gain a more coherent point of view, I have been referring to a genetical metaphor that helped in figuring out a first phase — corresponding to first half of the century — in which the relational chromosome has resulted in being recessive; and a second phase — more or less corresponding to the 60’s and 90’s — in which the chromosome turned otherwise out to be dominant. Responsability for these phenomena belongs to the main characters of this story: the City and the Audience directly responsible, step by step, for the socio-relational agenda in the XXI century. Furthermore, some of these aesthetic episodes have been reviewed to better describe their cyclic nature: what happened in the first period (see dadaists visites or situationists’ derives, for example), happened again in the second period. Something to be osserved in New York’s artists collectives’ experiences, such as Group Material. All that said, it’s important to stop thinking about Relational Aesthetic as a 90’s phenomenon, in order to reveal its traces and clues in the contemporary era as a whole.

Bangladesh RMG (Ready-made garments) industry has grown rapidly and contributing to country’s economy successfully for last three decades. In 2018-2019 this giant sector contributed 84% of the total foreign exchange earnings of the country. This is the unique sector of the country in terms of significant export growth rate and stands as the second-largest RMG exporter with 6.8% market share according to world trade organization 2019. Though the growth rate is increasing annually but it seems the growth of the industry yet to reach highest potentials. Aim: Aim of this study is to understand the factors influencing the sustainable development of Bangladesh ready-made garments industry.   Method: The study has been conducted applying the qualitative method. Primary data is collected through interviewing suppliers of the ready-made garments of Bangladesh. Secondary data sources were governmental and private organization’s websites. The data were analyzed by comparing it with existing literature.  Results: The result shows factors such as Compliance, Political unrest, Technology, Research & Development, Diversifications, Competition, Marketing strategy influencing sustainable development of the ready-made garments industry of Bangladesh.  Contributions of the study: This study investigates the factors hindering sustainable development of the Bangladesh read-made garments sector which has been discussed in previous literature in a segregated way. In this study factors that cause unstable export growth and hinder sustainable development have been addressed in the same frame. Furthermore, stakeholders of the company (Customer, Suppliers, Buyers, Investors, and Government) will be benefited to know the results of this study, as sustainable development is the result of unified efforts.  Suggestions for further research: Future researchers can investigate the factors elaborately both from suppliers and buyers’ point of view. Because of limitations, author could not reach more suppliers and buyers. The buyer’s prospect is also important to judge the factors influencing growth instability and sustainable development.

En 1977, Philippe Thomas (1951-1995) débute un travail qui se situe entre l’art et la littérature et qui conservera cette double dimension d’une œuvre procédant tant du voir que du lire. Il l’élabore en lui donnant une dimension narrative dont l’intermédialité, le réseau de ramifications intertextuelles et l’accumulation de travaux qui relèvent du dispositif construisent un récit à la forme discontinue. Participant d’une écriture des événements et s’appuyant sur une mise en parallèle de la présentation artistique et de l’énonciation, le projet de Thomas est celui d’une fiction du faire qui cherche à éprouver la frontière entre les mondes réel et fictionnel. Notre étude souhaite répondre aux objectifs d’une première monographie d’artiste et s’attache à décrire l’ensemble de l’œuvre de Thomas afin d’en reconstruire le parcours à l’aide d’un certain nombre de notions clés. Elle prend sa source dans la bibliothèque de cet artiste qui définit l’art comme un processus de recherche, comme une expérimentation du langage. C’est l’œuvre en train de se faire que nous observons, en nous intéressant à sa genèse et à ses conditions de réalisation. Et ce, afin de définir la posture d’auteur qui se dessine dans la spécificité d’une pratique artistique demandant la prise en compte tant de l’œuvre que de ses marges. Si le projet de Thomas met en place la disparition de l’auteur par le biais d’un protocole de signature de ses ready-mades, notre thèse rappelle qu’il s’agit d’une absence toute paradoxale : l’artiste caché par ses personnages demeure omniprésent et par là, participe de la redéfinition de l’auteur malgré la déclaration de sa mort une décennie plus tôt
In 1977, Philippe Thomas (1951-1995) begins a practice situated between art and literature, and his works will conserve this dual dimension by proceeding both from the act of seeing and from the act of reading. Through intermediality, a network of intertextual offshoots, and an apparatus formed by the accumulation of works, he constructs a discontinuous narrative. Participating in event-based writing and relying on parallels between artistic presentation and enunciation, Thomas’ project is a fiction of making that seeks to test the frontier between real and fictional worlds. This study seeks to fulfill the need of a first monograph on the artist, and it describes the entirety of Thomas’ oeuvre so as to reconstruct his artistic career with the aid of a certain number of key notions. My first source is the library of this artist, who defines art as a research process like an experimentation of language. I observe the oeuvre as it is being constructed, by focusing on its genesis and on the conditions of its production. I do this in order to define an authorial posture shaped by the specificity of an artistic practice which requires consideration of both the works it produces and its margins. If Thomas’ project carries out the death of the author through a protocol of signatures of his readymades, my dissertation emphasizes that this is a paradoxical absence: the artist hidden by his personas remains omnipotent, participating in the redefinition of the author in spite of the declaration of his death a decade earlier

The food industry has an essential role in society and in the global economy. Nowadays, modernlifestyle demands convenience, which is driving the development of the food sector. This isparticularly evident with convenience food, especially ready-made meals, industrially preparedfood, which only requires a short preparation time at home by consumers, but has very complexand diverse supply chains and is associated with a range of sustainability issues. Therefore, theaim of this research is to evaluate the environmental, economic and social sustainability in theready-made meals sector with the focus on the UK market. A life cycle approach has been used forthese purposes, using life cycle assessment (LCA) as the tool for the environmental analysis, lifecycle costing (LCC) for the economic aspects and social sustainability indicators (SI) for the socialissues. Different types of ready-made meal from different cuisines have been considered, includingthe British, Italian, Chinese and Indian. The highest environmental impacts are found for the Italian and Indian cuisines, while Chinesemeals are environmentally most sustainable, followed by the British. At the sectoral level, theresults suggest that from ‘cradle to retailer’ the British ready-made meal sector contributes 4.45 Mtof CO2 eq. annually, which represents ~4% of the GHG emissions of the food and drink sector and~1% of the UK GHG emissions. Of this, 3.16 Mt of CO2 eq. is emitted by chilled and 1.28 Mt of CO2eq. by the frozen ready-made meals. The total life cycle costs at the sectoral level from ‘cradle tograve’ are estimated at £2.1 bn, with the chilled ready-made meals market contributing £1.42 bnand the frozen £676 million. The life cycle costs from ‘cradle to retailer’ are £1.02 bn, with the valueadded of £958 million. The common environmental and cost hotspot for all the meals studied is rawmaterials. In particular, the meat, fish and seafood are the greatest contributors. For theenvironmental impacts, the manufacturing and distribution stages are also important, while theconsumption stage is the largest contributor to the costs. The major social aspects are the foodrelated health issues and food security, in particular food affordability. In the supply chainagriculture, wholesale and retailers show high risk for indicators such as wages and employmentwhile the manufacturing presents high risk in fatal injuries. The study also shows that consumer choices play an important role for the economic andenvironmental impacts; therefore, educational programmes and better communicational strategiesshould be implemented by the industry, the government and consumers groups. Moreover, toensure a sustainable development of the ready-made meals sector, future policies and industrialinitiatives should consider a life cycle approach including relevant economic, environmental andsocial aspects.

I denna undersökning har jag utgått ifrån Sassower och Cicotellos bok The Golden Avant-Garde: Idolatry, Commercialism, and Art. I den diskuterar författarna deras uppfattning utav vad som utgör en avant-garde konstnär och de bygger upp en modell för detta. Jag har utgått ifrån denna modell och jämfört en dåtida avant-garde konstnär, Marcel Duchamp, och en samtida, Cory Arcangel, för att ta reda på eventuella likheter och skillnader. Mitt syfte har varit att ta reda på om avant-garde som koncept har förändrats från 100 år sedan, på Duchamps tid, fram till nu. Sassower och Cicotellos teori utgår mycket ifrån en ekonomisk synvinkel och de diskuterar ämnen som konstmarknad och monetärt värde i samband med avant-gardens innebörd. Författarna tar upp ett par, för mig, nya koncept; technoscience och detached engagement, som de menar är avgörande att besitta för att som konstnär anses som avant-garde. En del av mitt syfte har också varit att ta reda på om Sassower och Cicotellos modell är ett givande sätt att undersöka avant-garde som koncept. Jag kommer fram till att modellen är trovärdig och givande samt att det är ett intressant sätt att ta sig an avant-garde som konstform. I min undersökning hittar jag många likheter och olikheter emellan de båda konstnärerna utifrån Sassower och Cicotellos modell och därför kommer jag också fram till att det är svårt att göra en exakt jämförelse på en så pass liten skala. För att komma fram till ett mer omfattande resultat hade jag behövt göra fler jämförelser mellan flera olika konstnärer.

Au début du XX siècle le tournant linguistique en philosophie affirme le lieu du transcendantal au sein du langage. Dorénavant la structure du langage est comprise selon la perspective pragmatique dérivée de la pensée de Charles S. Peirce, du second Wittgenstein et de J. L. Austin entre autres. Le langage se structure par des actes de parole et des jeux de langage. La dynamique de langage est néanmoins régie par la nécessité du consensus, comme le démontre le pragmatisme de Habermas et Apel. À partir des thèses d’Arnold Gehlen et de Humboldt sur le langage et le comportement humain, Jacques Poulain démontre que le langage est régi par une expérience sensible du référent qui ne se différencie pas de son concept. Cette expérience consiste en une dynamique de projection et réception de sons, la "prosopopée originale", qui construit l'Umwelt. Langage, culture et environnement sont ainsi les noms d'un même phénomène d'expérience sensible qui détermine le champ du réel, c'est-à-dire de l'énonciation possible de la vérité. Joseph Kosuth, à l'instar de Wittgenstein et Ayer, affirme que toute œuvre d'art est un concept dont le référent est ce même concept énoncé de manière tautologique. Selon Kosuth, Duchamp est le premier à mettre en évidence le fondement énonciatif de l'art. Cependant ce que Duchamp met à jour n'est pas la structure conceptuelle énonciative de l'art à travers les ready-mades, mais la structure esthétique et "artistique" de tout acte de langage de n'importe quel jeu de langage. Ainsi le ready-made serait plutôt le nom d'une "opération" d'auto-affection du langage dont le fonctionnement constitue la dynamique de la "prosopopée originale"
At the beginning of XX Century, the influence of linguistic in philosophy affirms the place of the transcendental within language. From then the structure of language has been understood in accord with the pragmatic perspective derived from Charles S. Peirce, J. L. Austin, and Wittgenstein, among others. Language forms itself by speech acts and language games. The dynamics of language is, nevertheless, governed by the necessity of consensus, as demonstrate by Habermas and Apel's pragmatism. Departing from Arnold Gehlen and Humboldt’s theses on language and human behaviour, Poulain demonstrates that language is governed by a sensitive experience of the referent which doesn’t differ from its concept itself. This experience consists of a dynamic of projection and reception of sounds, the “original prosopopea”, which builds the Umwelt. Language, culture and environment are so names for the same phenomena of the sensitive experience which determines the field of reality, or the field of the possible statement of truth. Joseph Kosuth, based on Wittgenstein and Ayer's, asserts that all work of art is a concept where the referent is the same concept expressed in a tautological way. According to Kosuth, Duchamp is the first to put in evidence the assertive Nature of art. However what Duchamp updates through ready-mades, is not the assertive conceptual structure of art, but the aesthetic and "artistic" structure of any act of language of any language game. So the ready-made would be rather the name of an "operation" of language's auto-affection where the functioning constitutes the dynamics of the “original prosopopeia”

L'art de 1990 à aujourd'hui témoigne d'une vitalité de la« vanité». La connaissance de sa condition de mortel et sa faculté de rire distingue l'humain ; le lien indissociable entre ces deux capacités génère la question de l'ambivalence. Le rire et le sacré forment les deux pôles d'expression d'une même perception initiale. Le concept d'ambivalence permet d'analyser les représentations de la mort dans lesquelles le crâne opère comme prétexte. Du XIV' au XVII' siècle, l'humour constituerait la face cachée de la gravité, inversement, à l'époque contemporaine la gravité constituerait la face cachée de l'humour. Les vanités actuelles peuvent-elles être considérées comme des vanités au sens strict ou comme des parodies? Sont-elles toutes empreintes d'une tonalité nihiliste ? Le genre pictural appelé historiquement « vanité », dépend d'un contexte socio-religieux qui impose la méditation sur la richesse, le dénuement et la rédemption. La surconsommation génèrerait une inquiétude propice à la manifestation de la vanité. L'objet, futile et indispensable, est indubitablement lié à la vanité par le fait qu'il entraîne une réflexion sur son utilisation, sa consommation ou sa place dans l'art. Par le biais du ready-made, la vanité contemporaine naît concomitamment de la manipulation du dérisoire et de l'expression d'un cynisme. Pour explorer le fonctionnement de ce double travail sur la dérision, les œuvres de P. Ramette, A. Dettloff, S. Gupta et R. Hazoumé où opèrent détournements et jeux d'isomorphismes sont plus spécifiquement étudiées. L'hétérogénéité géographique de ces plasticiens, à l'heure de la mondialisation, ouvre sur l'universalité de la question
Art from 1990s to this day has put forward the vitality of "vanitas". What distinguishes man from other living species is his ability to know about his mortal condition and his ability to laugh. The clear link that exists between those abilities raises the question of their ambivalence. A sense of laughter and of the sacred seem to be the two poles of expression of the same initial perception. The concept of ambivalence is the means to analyse the representations of death in which the skull operates as a pretext. From the 14th until the 17th century, humour would comprise severity's hidden side, conversely in contemporary times, severity would comprise humour's hidden side. Can current vanities be viewed as vanities in a strict meaning or as a travesty of vanitas ? Are they ail marked by a shade of nihilism ? The pictorial style historically called "vanitas", depends upon the socio-religious background which imposes meditation on wealth, deprivation and redemption. Over-consumption would generate a concem conducive to the expression of vanitas. The object, both futile and indispensable, is undoubtedly linked to vanity, by causing a reflection on its use, its consomption or its place in art. Through ready-made, contemporary vanitas is born together with manipulating triviality and expressing cynism. To explore the functioning of this double work on mockery, works from P. Ramette, A. Dettloff, S. Gupta and R. Hazoumé are more specifically examined, as they entai! misappropriations, isomorphism games. The geographical heterogeneity of those artists, in the era of globalisation, opens the door to the universality of the question

This essay is investigating the increasing Swedish garment export during the period 1997-2003. Despite a long-lasting national production decrease and stronger global competition Swedish designed clothing are exported at higher rates than ever. The hypothesis that this increase is due to increased trade and changed production stage specialization is investigated.

The theory used to investigate this is basic trade theory including Hecksher-Olin and New Trade theory with a focus on comparative advantage and specialization. This is completed with production theory that is particularly relevant for the garment industry: product and price competition, fashion cycles and vertical specialization.

Trade, production and labor data is analyzed according to this and the main results are based on the unit price development: exports had a much higher growth in unit prices than imports. This is indicating that Sweden has a revealed comparative advantage in capital intensive production stages, a fact further supported by high education levels and high production value per worker. The industry has chosen to focus on product competition rather than price competition and has managed to shorten its product cycles in order to better exploit the fashion

cycles. In some garment groups the image is more complex and one of the main theories of a design heavy garment such as jeans being the core of the success is revised. The export success is to a large extent due to an increasing specialization in the industry’s strong areas.

Den här uppsatsen undersöker tillväxten av Sveriges export i klädindustrin från 1997-2003. Trots att Sveriges klädproduktion har minskat i flera år och globalisationen tränger sig på så går svenska design plagg på högexport. Vår hypothes är att ökningen härstammar från ökad handel och specialisering i produktionsleden.

Teorier vi har använt för att undersöka fenomenet är grundläggande

handelsteorier så som Hecksher-Ohlin och New trade theory med fokus på

komperativa fördelar och specalisation. Vi har valt att komplettera med produktions theorier som vi känner är relevanta för klädindustrin: produkt och pris konkurrens, mode cykler och vertikal specialisering.

Handels-, produktions- och arbetskrafts- statistik har analyserats och

huvudresultaten är baserade på utvecklingen av enhetspris: exporten har en högre tillväxt i enhetspris än importen. Detta indikerar att Sverige har en uppenbar komperativ fördel i de kapitalintensiva produktionsleden, detta bekräftas ytterligare genom höga utbildningsnivåer och en hög produktion per arbetare. Den svenska klädindustrin har valt att fokusera mer på produktkonkurrens än priskonkurrens, den har också lyckats med att minska sina produktions cykler för att unyttja marknaden bättre. I en del grupper är bilden mer komplex och en av våra huvudteorier var att jeans stod för stora delar av exportsuccen, denna teori fick vi dock avfärda. Vad vi kom fram till var att stora delar av exportsucceen kommer ifrån en ökning av specialiseringen.

Este artículo revisa el modo en que la aparición de objetos críticos, como el Portabotellas de Duchamp, hacen entrar en crisis las nociones tradicionalmente aceptadas respecto de la obra de arte: su manualidad (la “buena factura”, producto de la destreza o habilidad del artista), su función representativa (mímesis) y su valor estético (el ser “bello”, objeto de una contemplación pura y desinteresada). Se plantea, así, que la aparición del ready made configura el momento final de un proceso de disolución de las convenciones artísticas (tanto respecto de la producción como de la valoración de las obras de arte) imperantes hasta el momento. Teniendo en cuenta todo esto, la pregunta que se intenta responder, al final, es: ¿cómo es posible que algo como el Portabotellas pudiera haber sido aceptado como arte, si no cumplía con las condiciones básicas de la noción tal y como se la aceptaba entonces?

This research aims to identify viable design strategies that can improve the indoor thermal comfort within the workplaces of existing multi-storey ready-made garment (RMG) factories in the tropical climate of Bangladesh. The research framework was initially developed through literature reviews and a feasibility study on the applicability of a passive design approach within an existing RMG factory. The principal research follows the empirical case study approach collecting environmental data for three types of workspaces (i.e. cutting, sewing and finishing sections) and subjective responses from the workers, designer and owners of three multi-storey case study buildings during the three main climatic seasons (i.e. cool-dry, hot-dry and warm-humid seasons) of Bangladesh. In addition to field studies, a validated simulation study is also completed in one of the case study buildings. Analyses of the subjective votes established workers' preferred thermal comfort range for temporal varieties of the climate and suggested that the distance between their workstation and ventilation-inlets should be maintained within 12m to 18m for more personalised control on their comfort avoiding the ceiling fans. Analyses of the environmental data from all case study buildings indicated that the limited effective openings of the existing windows and the ventilation strategy being limited to only occupied hours influence the thermal environment of RMG workspaces. Building owners saw value in implementing two solutions (i.e. altering existing window type to one with a higher effective opening area and utilising a night-time ventilation strategy with thermal mass) immediately in their existing buildings as well as new buildings. Simulation results confirmed that these two interventions can provide reductions of up to 23% of working hours when high temperature is experienced. Moreover, designing stack induced ventilation through shafts and changing functional arrangement can provide additional air speed (increase of up to 0.45 m/s) improving workers' thermal comfort. Though this research includes limited number of case studies in sub-urban context lacking the representation of the total building stock of Bangladesh, the research methodology and key findings can still be used as a reference by architects and engineers involved in refurbishing existing workspaces or designing new RMG factories in Bangladesh and similar tropical regions. Findings can be adopted by owners and workers of the case study buildings for improving their workspaces. The thermal comfort guidelines and workable strategies can also serve as a reference for updating the existing building code of Bangladesh by extending the scope of the study.

Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies, 1987.
Title as it appeared in the M.I.T. Graduate List June 1987: Organizing the unorganized.
Bibliography: leaves 60-61.
by Mihir Bhatt.
M.C.P.

La investigación realiza un análisis y un recorrido histórico del término assemblage, relacionándolo con los procesos técnicos conceptuales del arte objetual como: ready-made, objet trouvé, objeto surrealista, montaje, ensamblaje y principio collage. La primera acepción sobre la concepción del objeto como arte, la genera Salvador Dalí, creando el término objeto surrealista (1935). Sin embargo, el assemblage fue acuñado por Jean Dubuffet en 1953 para referirse a su serie de collages "Butterfly wings" y, utilizado para concretar la primera exposición sobre el término "The Art of Assemblage" (1961) organizada por William Seitz para el Museum of Modern Art en Nueva York. Los artistas internacionales que trabajaron el assemblage como una manera de yuxtaponer objetos con formas híbridas y asentaron el término, son Robert Rauschenberg con su combine painting, Jasper Johns con objetos ensamblados en sus lienzos. Arman con acumulaciones de artefactos, Kurt Schwitters con su "Merz" y Edward Kienholz con escenografías objetuales. El primer argumento de la tesis lo esgrime William C. Seitz, Tom Flynn y Thomas Karin, piensan ante el assemblage que el término es genérico. Y otros como André Breton, Timothy Hilton, William Jeffett y Juan Antonio Ramírez, asumen que el assemblage sustentó las vanguardias artísticas del siglo XX. El segundo argumento de tesis lo plantea William C. Seitz, Simón Marchán Fiz, Timothy Hilton, Gerardo Estrada, José de las Casas y Octavio Paz, que ante el ensamblaje piensan que es un método técnico-conceptual. Y otros como Arthur C. Danto, Hal Foster, Francisco Javier San Martín, William Tucker, José de las Casas, Elena Blanch y Anna Maria Guasch, especulan que el ensamblaje es una propuesta vigente en el arte. El marco teórico de la tesis fundamenta el ensamblaje con la estrategia de la deconstrucción, palimpsesto, impulso alegórico, efectos del montaje y el dispositivo de apropiación. En México carecemos de una bibliografía sobre assemblag
Estévez Kubli, PJ. (2012). EL ENSAMBLAJE ESCULTÓRICO: ANÁLISIS Y TIPOLOGÍAS OBJETUALES EN EL ARTE CONTEMPORÁNEO MEXICANO [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/16544
Palancia

Cette thèse se propose d'importer le terme de « ready-made », historiquement issu du domaine des arts plastiques, et, plus particulièrement, de l'œuvre de M. Duchamp, dans le domaine poétique afin de circonscrire et d'étudier les équivalents littéraires de ce type d'œuvre d'art. Nous entendons faire émerger une catégorie à part entière d'objets poétiques relevant de la « poésie ready-made », non réductible à d'autres catégories proches comme le plagiat ou le collage auxquelles elle se trouve trop souvent assimilée, de manière à mettre à jour les problèmes spécifiques posés par l'existence même de ce type d'objet dans le domaine poétique. A l'instar du Ready-made duchampien, ces pratiques bouleversent la conception traditionnelle de la poésie et de récriture poétique au point d'en rendre l'appréhension problématique. Le poème ready-made met à l'épreuve les outils avec lesquels nous avons coutume d'envisager le fait poétique, particulièrement stylistiques, tant par sa dimension intersémiotique que par son mode de fonctionnement au second degré et la mise en branle de dimensions d'ordinaire reléguées au second plan comme non signifiantes, dont le médium constitue l'exemple le plus frappant. Il invite ainsi à envisager le poème moins comme « texte » que comme « dispositif». Dès lors, le poème ready-made en vient à provoquer une « chute des paradigmes » (T. De Duve), au sens où les catégories sur lesquelles se fonde la définition doxique de la poésie et du poétique sont mises à mal. Mais, moins qu'à une table rase, c'est davantage à une exemplification du « poétique » et de ses « tics » que mène le poème ready-made de par la mise en scène des éléments principaux de la doxa à laquelle il se livre
This doctoral thesis intends to import the term "readymade" - historically derived from visual arts, and especially from the work of Marcel Duchamp - to poetry in order to define and study literary equivalents of this type of artwork. We intend to bring to light a full class of poetic objects falling within the scope of "ready-made poetry", and not reducible to any other close category such as plagiarism or collage - to which it is too often compared - so as to bring to light the specific problems raised by the existence of such objects in poetry. Just as they do in Duchamp's own Ready-made, these practices disrupt the traditional conception of poetry and poetic writing. Ready-made poems question the tools - especially stylistic ones — to which we are accustomed when we envisage poetical deeds, both in their intersemioticity or the way they use second degree, and in the resort to dimensions which are currently not considered as meaningful, like the medium. It thus invites us to consider the poem less as a "text" than as a "device". Therefore, ready-made poems come to provoke a "fall of paradigms" (Thierry de Duve), in the sense that the categories forming the base of the doxic definition of poetry and the poetic become uncertain. But, less than a tabula rasa, ready-made poems rather carry an exemplification of the "poetic" and its "tics" by the staging of the main elements of the orthodoxy

L’art moderne et contemporain a quitté le régime de la Représentation pour expérimenter d’autres fonctions et proposer à un nouveau « regardeur » d’autres rapports avec la réalité vécue. Pour cela, il faut que quelque chose de fondamental ait changé dans la relation de l’artiste au monde : l’espace n’est plus quelque chose qu’il élabore au moyen de l’oeuvre, ou en elle. L’espace est, pour l’artiste moderne, une « donnée » dans laquelle il est placé d’emblée, à l’instar de tout être. Cela veut dire qu’il n’y a pas d’espace propre à l’oeuvre d’art qui ne soit l’espace du monde lui-même. L’art, c’est le monde, à travers l’engagement de tout ce qui l’occupe.C’est ce que Jean Paulhan (1884-1968), en parlant des cubistes, avait appelé « l’espace brut » ou « l’espace spontané », et qui est désigné ici comme « l’espace réel », pour le différencier de toute fiction spatiale. C’est aussi ce que Marcel Duchamp a élaboré à travers ses expérimentations sur les choses et le langage, l’ayant conduit à concevoir cette complexematrice de l’art qu’est le Ready-made en remplacement de la Perspective. Ainsi, ce qu’on nomme art contemporain est un art qui s’élabore dans le monde, impliquant les êtres et les choses, les formes et les signes, mais aussi la « lumière » des idées, toujours déjà là. Comprendre l’art, c’est, pour chacun, appréhender, sans pouvoir se dérober, comment se joue une rencontre entre ces entités contradictoires, visant une unité nouvelle et exprimant l’intuition du monde comme Tout.Cette thèse est un tel effort de compréhension qui, dans ma pratique de commissaire d’exposition et de critique d’art, a été partagé avec des artistes, au plus près des oeuvres et dans de multiples contextes, dans le cadre de ces institutions « d’aménagement du territoire » que sont les Fonds régionaux d’art contemporain
Modern and contemporary art have abandoned the system of Representation to experiment with other functions and to offer a new “beholder” different relations with a lived reality. To do this, something fundamental had to alter the artist’s relation to the world: space is no longer developed by means of the work, or within it. For modern artist, space is a “given” in which he is immediately placed, like any being. This means that there is no space peculiar to the work of art which is not the space of the world itself. Art is the world, through the involvement of everything occupying its space.This is what, in talking about the Cubists, Jean Paulhan (1884-1968) called “raw space” and “spontaneous space”, which is here described as “real space”, to differentiate it from any spatial fiction. It is also what Marcel Duchamp developed in his experiments involving things and language, leading him to devise that new matrix of art known as the Readymade,replacing Perspective. So what we call contemporary art is an art that is developed within the world, involving beings and things, forms and signs, invariably already there. For everyone, understanding art is grasping how, without being able to sidestep, the encounter between these contradictory entities is enacted, aimed at a new unity and expressing the intuition of the world as a Whole.This thesis is such an effort at comprehension, which, in my activities as an exhibition curator and art critic, has been shared with artists, at very close quarters with works and in many different contexts, within the framework of those institutions of “regional development”, the regional contemporary art collections (FRAC)

The ready-made garments (RMG) manufacturing industry in Egypt is one of the main industries that supports the Egyptian economy through exports‟ earnings. Egypt‟s RMG exports are considerably less in quantity than other RMG exporting countries despite the advantages that Egypt has in terms of availability of high quality raw materials „cotton‟, the geographical proximity to main RMG importers and duty free trade agreements. Among the factors found to affect the competitiveness of Egypt‟s RMG exports are the lack of training, and the lack of skilled labour and management. This research develops a competency framework - a tool that can assist RMG manufacturing companies in Egypt to identify the skills needed for effective job performance and to define the skills deficiencies that would require training. This competency framework focuses on logistics executives in RMG manufacturing companies, as competent logistics executives have been shown to play a vital role in supporting the competitive advantage of organisations. The competency approach had not previously been used in research to identify the competencies needed for logistics executives in any industry, including the RMG industry. Moreover, very little work has been carried out on investigating the skills of logistics executives in developing countries, nevertheless in the Middle East. To create this competency framework, methodological triangulation was used through the use of questionnaires, content analysis and semi-structured interviews. The online questionnaire targeted a sample of logistics executives in RMG companies in Egypt to determine the tasks they consider important for effective job performance. The content analysis was performed on skills-related research to collect the skills and knowledge elements acknowledged in the literature to create logistics competencies. The output of the questionnaire and the content analysis was then used in a semi-structured interview with a senior merchandiser and development manager in an Egyptian RMG manufacturing company to provide an example of a completed competency framework. This thesis seeks to make an original contribution to knowledge by creating a competency framework template that RMG manufacturing companies in Egypt can use to identify the competencies and detect the skills deficiencies of logistics executives. This contribution would not only benefit the RMG manufacturing companies in Egypt, but it could also be of use to RMG exporters in developing countries which suffer from similar skills and training problems. This research is also a contribution in that it emphasises the role of logistics executives towards supporting Egypt‟s RMG exports, an angle which has not previously been explored, as earlier research focused on other aspects that supported the competitiveness of Egypt‟s RMG exports such as trade regulations. Moreover, acknowledging the role of logistics executives in this study could draw the attention of other industrial sectors in Egypt to consider the role of competent logistics executives towards supporting companies‟ performance.

The purpose of this study is to investigate what effect COVID-19 has had on the buyer-supplier relationship (BSR) in the ready-made garment (RMG) supply chain (SC) - focusing mainly on the Bangladeshi supplier point of view, but with a complementary perspective of the buyer. As the area is new and relatively unexplored, there is a gap in previous literature and research. It has not previously been studied how COVID-19 affected the relationship between buyer and supplier in the RMG SC. This study aims to narrow this gap. In this study, a qualitative research strategy was adopted, emphasizing words rather than quantification in the data collection and analysis. An inductive approach was used, starting from collecting data, where theories and literature are proposed towards the end of the research process as a result of interviews. A narrative state of the art review of literature was conducted to provide a comprehensive and unbiased review. Semi-structured in-depth interviews with Bangladeshi supplier managers were conducted over Zoom or Teams. The empirical data were coded in first-order concepts, second-order concepts, and aggregate level through the qualitative research program Nvivo. Four main second-order concepts could be identified from the interviews with the supplier side. The codes and empirical data were then analyzed through a developed analysis model based on the Conceptual Model of Social Capital. The effects that COVID-19 has had on BSR from a Bangladeshi supplier perspective are discussed and presented.

This work deals with comparison of business in the Czech and Slovak Republics, focusing on a limited company and specifically on the comparison of the possible ways and conditions of its acquisition in both states. The first chapter is devoted to the characteristics of some basic concepts, the second chapter the description of the legal forms of business in the CR and the third focuses on the general characteristics of the company. In the fourth and fifth chapter lists analyzed by a public company and limited partnership under the laws of both states. The sixth chapter focuses on the core theme of work and it is a limited liability company, a detailed analysis Ltd. under the laws of both countries and a description and comparison of ways to within Ltd. start a business. Gradually options are compared to set up Ltd. in both countries by self-help, by consulting firms and buy ready made Ltd. together with a practical comparison of prices of the services. The seventh chapter is devoted to the joint-stock company and its modification in the law of the CR and SR. The last chapter is a comparison of Czech and Slovak Republic in terms of their tax burden and agenda.

The purpose of this paper was to investigate the overview of sustainability in apparel manufacturing industry and why environmentally and socially sustainable practices are being adopted by developing country suppliers and how the implementation process is both hindered and enabled. Currently the worldwide survival of the apparel industry is the main significant question. The most spoken about issue is for the sustainability of fashion in the world. Many organizations and fashion-conscious personalities have come forward to uphold the further extension of tomorrow 's good environment campaign, but the garments and textile industries in Bangladesh are far beyond this awareness, posing a risk of losing the world market. On the other hand, one of the key concepts for humanity and sustainability point of view is fashion for the moral or ethical issues. It is high time specific sustainability strategies and approaches were implemented. Improvements in social and environmental support migrant employees, help manufacturers establish longer-term partnerships with transnational companies and lead to production. The Bangladeshi garments industries are currently facing great challenges in terms of the working environment. Fire injuries are frequent in garments factories and the recent collapse of buildings poses a significant danger to their future.  In addition, the workers earn the world's lowest salaries which make them unsatisfied, sometimes causing clashes and violence during low-wage protests. This paper has looked at the work environment, fire and health problems facing Bangladesh's garments industry and proposes major steps to strengthen the environment and sustainability.

Dans le contexte contemporain, l'art et les artistes sont confrontés à des images présentes sur toutes sortes de supports. Les artistes de leur part sont souvent amenés à travailler sur différents médias et ils sont presque obligés d'étendre le domaine de leur pratique. De la même manière, les limites des arts visuels en tant que discipline deviennent moins précis et se brouillent avec celles d'autres domaines. Dans cet ordre d'idées, la présente étude entame la question de la pluridisciplinarité et ses enjeux dans l'art contemporain. D'une part, comment peut-on définir l'art dans le monde actuel, en tant que discipline et en tant qu'expression de la culture? Ainsi, une révision des principales théories de la philosophie analytique de l'art ouvre les possibilités de réponse à cette question. D'autre part, si on considère la pluridisciplinarité comme une caractéristique de la culture visuelle contemporaine, peut-on penser l'art actuel en termes de l'art total? L'art total est compris dans le sens exprimé par Wagner comme point de départ, mais une analyse de l'évolution historique de cette notion permet d'éclairer la façon dont elle peut être comprise dans le contexte actuel. Ces deux cadres théoriques permettent d'analyser les pratiques artistiques contemporaines à l'égard des tensions et influences auxquelles elles sont soumises. Comment sont interprétées et intégrées dans l'art contemporain les notions héritées de la modernité ? Comment l'artiste contemporain adapte ses pratiques par rapport aux tensions du marche, à l'influence d'autres domaines de la culture visuelle et à l'ubiquité de la technologie dans notre quotidien ? Cette étude tente de répondre à ces questions.

This thesis aims to define the role and status of objects in novels by Nathalie Sarraute and Georges Perec written between 1950 and 1980. This inquiry starts with one clear fact: the more objects are described the more difficult it is to picture them, which leads to a profound change — the ordinary functions and meanings associated with objects are almost lost to the imagination. By comparing Sarraute to Perec, but also to Balzac, Flaubert, Sartre, and the "New Novel" authors, I would like to bring to light the positions taken by these two writers in order to ascertain whether Sarraute and Perec offer original representations of objects in literature or whether they are unable to escape from the commonly accepted representations of objects in literature at the time. Such interpretations include the idea that objects can be either explained through phenomenology or the needs of consumer society. Unlike studies which take this latter approach, I compare the status of objects in novels by Sarraute and Perec to several works in modern and contemporary art because of their similarities. From the objects found in Duchamp's ready-made to objects in the world of design, objects belong both to everyday life and art. This polyvalent identity of objects leads to a certain ambiguity, which is reflected in the thesis' bias for a "post-phenomenologic" interpretation of objects, in which the status of objects could be linked more to design in a "post-industrial" era than to part of a movement called "école du regard" by critics in the 1960s. Beyond the distinction traditionally made between modernity and post-modernity, this thesis demonstrates that the representation of objects in the novel is a complex endeavor for the novel and for the object. Through the use of games, narrative 'traps,' invisible mise-en-scènes in the selected novels by Sarraute and Perec, the works combine a representation of objects with a fashioning of words to propose a new paradigm for understandin
Cette thèse vise à définir le statut ainsi que le rôle de l'objet dans les oeuvres romanesques de Nathalie Sarraute et Georges Perec entre les années 1950 et 1980 afin d'en comprendre les ambiguïtés : à force d'être décrits, les objets sarrautiens et perecquiens gagnent en abstraction et perdent leurs fonctions habituelles. En effectuant des va et vient entre les deux auteurs, mais aussi des comparaisons avec les objets dans les romans de Balzac, Flaubert, Sartre et dans le nouveau roman, j'examinerai les prises de position de Sarraute et de Perec par rapport à ces différentes visions de l'objet pour vérifier si les deux écrivains ont réellement leur propre singularité ou s'ils ne peuvent, en définitive, échapper aux questions et aux problématiques soulevées par la phénoménologie et la société de consommation. Contrairement aux travaux se prévalant d'une telle approche, j'ai choisi de faire dialoguer le statut de l'objet romanesque chez Sarraute et chez Perec avec certaines oeuvres de l'art moderne et contemporain qui, à partir des ready-made de Duchamp jusqu'aux objets design, participe d'une redéfinition du concept d'objet pouvant relever de la plus grande banalité et du domaine artistique. Cette possibilité qu'à l'objet d'osciller entre deux domaines et de jouer sur cet écart sera inscrite au centre de l'étude. Par là, cette thèse se rapproche d'une posture post-phénoménologique où le statut de l'objet a désormais plus à voir avec le design et l'ère post-industrielle qu'avec l'école du regard. Au-delà des distinctions entre modernité et post-modernité, utilité et esthétique, cette thèse prétend que la représentation de l'objet romanesque, à l'origine de jeux, de pièges, de mises en scène invisibles chez Sarraute et chez Perec, va toujours de pair avec un travail des matériaux que le romancier façonne à dessein. Ces matériaux que sont les mots de l'usage commun, au même titre que certains objets banals et

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Este trabalho tem como objetivo geral a realização de um estudo sistemático sobre o fenômeno denominado Ready Made Performático (RMP). Esse termo refere-se a uma unidade performática inserida e incorporada em outra instância da performance e pode ser definido como a inclusão de um feixe de comportamentos performáticos em outro fenômeno performático. Esse deslocamento muda o contexto do fenômeno, preservando, entretanto, a característica performática da ação deslocada. O RMP resulta da junção do conceito de ready made, objeto pronto, e do seu deslocamento para o âmbito da arte, conceito desenvolvido pelo artista plástico Marcel Duchamp, acrescido de idéias sobre a performance do âmbito social dos teatrólogos Richard Schechner e Bert O. States e do sociólogo Ervin Goffman. O trabalho analisa aspectos da performance e seu valor, incorporados num contexto de arte. A título de estudo de caso, o trabalho pretende analisar a adoção da prática do RMP no espetáculo Apocalipse 1,11 (2000) do grupo do Teatro da Vertigem. Para cumprir tal objetivo será apresentado o Teatro da Vertigem a partir de sua trajetória e de seu método de trabalho, focando nos aspectos de experimentação do grupo, nos processos de encenação, no método de depoimento pessoal, nas questões de risco teatral, na preparação e na presença corporal dos atores, nos locais de encenação, escolhidos por eles, e na sua busca de interação com o público. Acredita-se que essas diversas dimensões do Teatro da Vertigem contextualizam o uso do RMP na peça do Apocalipse 1,11.

La Tesi titulada "Navegant per la web d'una aranya. Desenvolupament un programa d'ajuda com a conseqüència d'un accident laboral en la Indústria Tèxtil Bengalí "(d'ara endavant la Tesi) resumeix l'experiència desenvolupada per l'autor en la gestió d'una intervenció de naturalesa multistakeholder i relacional per constituir l'anomenat Spectrum Voluntary Relief Scheme, dissenyat per pal•liar els danys personals dels treballadors ferits i de les famílies dels treballadors morts com a conseqüència del col•lapse de la fàbrica Spectrum (Savar, Bangladesh 2005). La primera innovació que ofereix la Tesi és el concepte de spider web: Una idea utilitzada per l'autor per capturar les causes últimes que van originar la crisi derivada del col•lapse de l'esmentada fàbrica. En altres paraules, una spider web que, a diferència de les altres teixides per aranyes, era difusa i teixida de manera opaca per xarxes de desconfiança mútua entre els stakeholders locals i internacionals presents a l’entorn de l'accident. Una desconfiança mútua que va resultar de la combinació dels següents factors: (i) l'inadequat compliment de la legislació bengalí, (ii) escassos recursos públics per a la seva implementació i (iii) un escàs exercici dels compromisos voluntàriament assumits pels International Buyers, després de l'aprovació dels seus respectius Codis de Conducta de Fabricants i Tallers Externs. La segona innovació es troba en el seu marc teòric que, articulat a partir d'un concepte ampli de Capital Social de naturalesa relacional i fruit de l'adaptació de teories del Management, va ser clau per guiar la intervenció del Spectrum Voluntary Relief Scheme en aquest complex escenari. La tercera innovació es troba en el procediment per a la construcció d'eines (per exemple Fact Finding Mission, el barem i el model actuarial per calcular compensacions per a treballadors ferits i familiars dels morts com a resultat de l'accident) que de forma simultània permetessin (i) resoldre la crisi derivada del col•lapse de la fàbrica i (ii) fomentar la Confiança, l'Associacionisme i el Cooperativisme entre els stakeholders involucrats en l'accident. Addicionalment, la Tesi ofereix tres innovacions: (i) una segona spider web, més obscura, difusa i opaca que, present en la realitat quotidiana comunitària, social, religiosa i familiar dels beneficiaris del Spectrum Voluntary Relief Écheme, era directament responsable dels processos d'exclusió d'aquells col•lectius més vulnerables, (ii) la seva conceptualització a través de les següents quatre Ps: (P1) Principis Polítics i Constitucionals, (P2), Patriarcat, (P3) Per i (P4) purdah i, finalment, (iii) un procediment dissenyat per mesurar l'impacte de les mencionades quatre Ps en la vida de les vídues de Spectrum. A més, la Tesi identifica una tercera spider web que, essent concèntrica amb les dues anteriors i present en les realitats de les fàbriques, comunitats i famílies dels beneficiaris de Spectrum va ser teixida per un sistema judicial incapaç de protegir els Drets de la Dona i portà com a conseqüència directa un sistema legal incapaç de protegir el lliure gaudi de les compensacions de les Vídues de Spectrum en un país amb una de les majors taxes de Violència contra la Dona en el món. Finalment, el nou marc relacional proposat per la Tesi i dissenyat per resoldre crisis futures derivades d'accidents laborals en LDC mitjançant processos d'acumulació de confiança i capital social conclou amb un immediat resultat pràctic: la creació de la Bangladesh Welfare Act (2006).
La Tesis titulada “Navegando en la web de una araña. Desarrollando un programa de ayuda como consecuencia de un accidente laboral en la Industria Textil Bengalí” (en adelante la Tesis) resume la experiencia desarrollada por el autor en la gestión de una intervención de naturaleza multistakeholder y relacional para constituir el denominado Spectrum Voluntary Relief Scheme, diseñado para paliar los daños personales de los trabajadores heridos y las familias de aquellos otros fallecidos como consecuencia del colapso de la fábrica Spectrum (Savar, Bangladesh 2005). La primera innovación que ofrece la Tesis es el concepto de spider web: Una idea utilizada por el autor para capturar las causas últimas que originaron la crisis derivada del colapso de la mencionada fábrica. En otras palabras, una spider web que, a diferencia de las otras tejidas por arañas, era difusa y tejida de forma opaca por redes de desconfianza mutua entre aquellos stakeholders locales e internacionales presentes en la arena del accidente. Una desconfianza mutua que resultó de la combinación de los siguientes factores: (i) el inadecuado cumplimiento de la legislación bengalí; (ii) escasos recursos públicos para su implementación y (iii) un escaso ejercicio de los compromisos voluntariamente asumidos por los International Buyers, tras la aprobación de sus respectivos Códigos de Conducta de Fabricantes y Talleres Externos. La segunda innovación fue su marco teórico que, articulado a partir de un concepto amplio de Capital Social de naturaleza relacional y fruto de la adaptación de teorías del Management, fue clave para guiar la intervención del Spectrum Voluntary Relief Scheme en este complejo escenario. La tercera innovación fue el procedimiento para la construcción de herramientas (i.e. Fact Finding Mission, el Baremo y el modelo actuarial para calcular compensaciones para trabajadores heridos y familiares de aquellos otros fallecidos como resultado del accidente) que de forma simultánea permitieran (i) resolver la crisis derivada del colapso de la fábrica y (ii) fomentar la Confianza, el Asociacionismo y el Cooperativismo entre los stakeholders involucrados en el accidente. Adicionalmente, la Tesis ofrece tres innovaciones: (i) una segunda spider web, más obscura, difusa y opaca que, presente en la realidad cotidiana comunitaria, social, religiosa y familiar de los beneficiarios del Spectrum Voluntary Relief Écheme, era directamente responsable de los procesos de exclusión de aquellos colectivos mas vulnerables; (ii) su conceptualización a través de las siguientes cuatro Ps: (P1) Principios Políticos y Constitucionales; (P2); Patriarcado; (P3) Para y (P4) Purdah y, finalmente, (iii) un procedimiento diseñado para medir el impacto de las mencionadas cuatro Ps en la vida de las viudas de Spectrum. Además, la Tesis identifica una tercera spider web que, concéntrica a las dos anteriores y presente en las realidades de las fábricas, comunidades y familias de los beneficiarios de Spectrum fue tejida por un sistema judicial incapaz de proteger los Derechos de la Mujer y cuya consecuencia directa es un sistema legal incapaz de proteger el libre disfrute de las compensaciones de las Viudas de Spectrum en un país con una de las mayores tasas de Violencia contra la Mujer en el mundo. Finalmente, el novedoso marco relacional propuesto por la Tesis y diseñado para resolver crisis futuras derivadas de accidentes laborales en LDC mediante procesos de acumulación de confianza y capital social concluye con un inmediato resultado práctico: la creación de la Bangladesh Welfare Act (2006).
The Thesis - “Navigating into the Spider´ Web, Developing Resilience in the Wake of an Industrial Disaster in the Bangladesh Ready Made Garment Sector” – (hereinafter the Thesis) summarizes the Author´s experience, based on a multi-stakeholder approach, carried out in Bangladesh, to build the Spectrum Voluntary Relief Scheme to manage the negative consequences derived from the collapse of the Spectrum factory (Savar, Bangladesh 2005). The first innovation offered by the Thesis is the spider web: an illustrative concept used by the Author to capture the ultimate roots of the crisis derived from the mentioned factory collapse. In other words, a spider web unlike nets actually knitted by spiders, was messy, and, as such, it was opaquely woven with distrust threads linking Local and International stakeholders present at the Spectrum accident arena. Thus, the mutual distrust come from the combination of the following factors: (i) a failure to abide by current Bangladesh Laws; (ii) a lack of resources to enforce an effective Legal Framework and (iii) a consistent disregard for commitments voluntarily made by International Buyers after approving their respective Codes of Conduct for External Manufacturers and Suppliers. The second innovation offered by the Thesis was its theoretical framework based on a holistic Relational Social Capital concept derived from the adaptation of several current management theories and to guide the intervention through The Spectrum Voluntary Relief Scheme in this complex scenario. The third innovation was the procedure to build tools (i.e. Fact Finding Mission, Scale and actuarial model to calculate compensations to injured workers and the families of those deceased as a result of the accident) to simultaneously: (i) solve the crisis derived from the factory collapse and (ii) foster Trust, Closeness and Cooperative behaviour among stakeholders involved in the Spectrum accident Additionally, the Thesis offers three innovations: (i) a second spider web which, even more obscure, messy and opaque that permeated Scheme beneficiaries’ community, social, religious and family everyday lives, was directly responsible for the stalwart exclusion of the most vulnerable groups; (ii) its conceptualization on the basis of Four Ps: Political and Constitutional Values (P1); Patrilineal Kinship (P2); Para (P3) and Purdah (P4) and (iii) the procedure to assess the impact of these mentioned four Ps on Spectrum Widows’ lives. The Thesis identifies a third spider web, which concentric the other two and, therefore, present in factories as well as family households and communities where beneficiaries and their relatives live, is knitted by a poor judicial system to safeguard Women’s Rights, being its direct consequence: the insufficient protection of the Spectrum Widows´ Rights to free enjoy the compensations received from the Spectrum Scheme in a country with showed one of the highest VAW rates in the world. Finally, this innovative relational framework designed to solve future complex crisis derived from labour accidents in LDC, accumulating Trust and Social Capital, concludes using its most immediate practical outcome: the Bangladesh Welfare Act (2006).

This research addresses life cycle environmental and economic sustainability in the baby food sector. In the UK, this sector has been growing rapidly, expanding by around 30% between 2009 and 2014, by which time it was worth an estimated £181 million per year. This growth sits within a context of high emissions from the food sector: in 2015, UK net GHG emissions were estimated to be 496 million tonnes (Mt) and the domestic food chain was responsible for 115 Mt CO2 eq. emissions. However, within this overall food chain, very little is known about the sustainability of the baby food sector, with almost no prior literature in the area. The research presented here begins with market research to identify the characteristics of products available in the ready-made food market, in which wet and dry products in jars and pouches dominate sales. Subsequently, 12 representative products are selected from those available on the market and each is assessed in detail to establish its environmental and economic impacts using life cycle assessment (LCA), life cycle costing (LCC) and value added (VA) assessment. The findings of these product-level assessments are then compared to home-made equivalents and finally scaled up according to sales volumes to provide an overall view of the baby food sector as a whole. Wet and dry variants of ready-made porridge products are assessed first as the most commonly consumed breakfast option. The dry product is shown to have 5%-70% the impacts of the wet, on average, and the importance of product formulation is clear: for dry porridge, reformulation could reduce impacts by up to 67%. For the wet porridge, switching from glass jars to plastic pouches is also shown to decrease impacts by up to 89%. Assessment of 11 wet ready-made products demonstrates that the highest impacts are found in spaghetti Bolognese and salmon risotto, and that raw materials are the major hotspot of the life cycle, contributing 12-69%, followed by manufacturing at 2-49%. When combined into a range of weekly diets limited differences are observed between diets, except in cases where dairy-free diets result in compensatory increases in meat consumption. When the aforementioned selection of ready-made products is compared to its home-made equivalent, the home-made options are shown to have lower impacts by 50% to 17 times. This is due to the avoidance of manufacturing and extra packaging stages, as well as shorter supply chains resulting in less waste overall. At the product level, the LCC of ready-made meals ranges from £0.08 to £0.26 per 125 g product, compared to £0.02-£0.20 for the home-made equivalents. Value added is, on average, approximately four times higher for ready-made meals than homemade, illustrating the potential profit of the sector. Annually, the ready-made baby food sector has an LCC of £40m and carbon footprint of 109 kt CO2 eq. This carbon footprint represents only 0.1% of the UK food and drinks sector. The results of this research show that considerable improvements can be made to the environmental and economic sustainability of baby foods, both ready- and homemade, while home-made options tend to have lower costs and environmental impacts. The outputs provide benchmarking and improvement opportunities for industry and government, as well as insight for consumers.

L’analyse des processus de création de l’écrivain américain William Burroughs et de l’artiste brésilien Cildo Meireles construit deux figures exemplaires de l’artiste en tant que sujet politique. Les choix faits par ces deux artistes pendant le processus de réalisation de leurs œuvres déclarent en effet leur position face à la littérature, à l’art et à la réalité. Ils les construisent en tant que sujets-artistes et produisent des rencontres qui (re) configurent l’espace artistique. Ils renouvellent les pratiques de création. Nous étudions ces processus avec pour outils différentes notions théoriques. Outre celle de la politique, qui, selon Jacques Rancière, est le processus de l’égalité ; celle du sujet, définie par Alain Badiou, comme une construction qui se produit quand un événement arrive ; et celle de choix qui, selon Slavoj Zizek, ne laisse pas intacte la subjectivité du sujet. Nous essayons ainsi de définir le caractère politique des choix faits par ces deux artistes et de mettre en évidence l’idée de l’art et de la politique que leurs œuvres mobilisent.Nous étudions le processus de création de Burroughs, de son premier roman jusqu’à la découverte du cut-up et l’écriture de son texte Last Words. Nous analysons le processus de création des œuvres de Meireles : Insertions dans les circuits idéologiques, œuvre qui se constitue dans un processus en marche ; et Le sermon sur la montagne : Fiat lux. Construction d’une situation : transformation d’un espace en une bombe potentielle.Malgré leurs différences, ces œuvres ont une procédure de réalisation similaire, une sorte de travail tabulaire, de collage d’éléments hétérogènes
The analysis of the creation process of both Americain writer Willam Burroughs and Brazilian artist Cildo Meireles construct two exemplary figures of the artist as political subject. The choices made by these artistes during the process of realization of their works declare indeed their position on literature, art and reality. Their choices construct them as artists-subjects and produce encounters that (re) configure the art space. They renew the creative practices. We study these processes with some theoretical tools: such as the notion of politics which according to Jacques Rancière, is the process of equality; the notion of subject, defined by Alain Badiou as a construction that is produced when an event happens; and the notions of choice which, according to Slavoj Zizek, does not leave intact the subjectivity of the subject. Thus we try to define the political nature of the choices made by these artists and to highlight the idea of art and politics that their works mobilize. We study the process of creation of Burroughs, from his first novel until his discovery of cut-up technique and the writing of his text Last Words. We analyze the process of creation of Meireles’s works: Insertions into Ideological Circuits, a work that is established as a running process and The Sermon on the Mount: Fiat Lux that is the construction of a situation. It is the transformation of a space into a potential bomb. Despite their differences these works have a similar implementations procedures a kind of a tabular work, a collage of heterogeneous elements

The routine consumption patterns of ordinary consumers in the first half of the nineteenth century, particularly those in the provinces, have been neglected. This thesis sheds light on this area by investigating one particular commodity, clothing. To undertake this, a range of archival sources, visual evidence and surviving dress relating to the counties of Herefordshire and Worcestershire have been examined. The data has enabled an analysis of the consumption of clothing in different locations within the two counties, including county towns, industrial regions and villages, to be carried out. The results have highlighted the many different methods of clothing supply available to the non-elite consumer, which included shop retailing, itinerant selling, illicit networks and clothing distributed via the Poor Law and charity. The thesis demonstrates firstly that the non-elite consumer could obtain clothing from a variety of outlets, using different acquisition methods. Secondly, it shows that this clothing varied in both style and the way it was manufactured, often depending on the supply network utilised. The thesis questions assumptions about the availability of ready-made clothing, the nature of retailing clothing in rural areas, the decline of hawking and peddling, the non-elite use of clothing shops and non-elite consumers’ relationship with fashion. It emphasizes that non-elite consumers had a complex relationship with their clothing, influenced in part by personal preference, gender, economic circumstances and stage in the life-cycle. This thesis shows the multifarious ways non-elite, provincial consumers acquired and wore their clothing.

The present Doctorate Thesis is circumscribed be the investigation of the technique that Marcel Duchamp denominated ready-made with the objective of gaining an insightful reading that goes beyond the already copious interpretations of this expressive procedure as a straight-forward descontextualization of the found object. We choose to foreground the undercurrents that animate the objet trouvé and in this way emphasize the specific morphologies provided by the ongoing turning-points of similar creative explorations. We have purposely focused our inquiry exclusively on the work of the contemporary, creative artist Joan Millet Bonet (Gandia '58) since his work is so well suited as example by addressing the concerns that will be scrutinized by our analytical and descriptive investigations. Here we show documentation of this investigation into the narrative and conceptual field as well as into the field of technical and procedural methodologies. We are also trying to highlight the underlying relationships that unite them. In so doing, we are trying access the how and why of their final formal structure that may reveal the possible distinctive relevance in the context of contemporary artistic expression.
La presente Tesis Doctoral se circunscribe dentro del estudio de la técnica que Marcel Duchamp denominó ready-made. Con la finalidad de obtener una visión contemporánea que trascienda a la ya extendida concepción de este modo de hacer como una sencilla descontextualización del objeto encontrado, hemos decidido profundizar en las posibles relaciones subyacentes que mueven al objet trouvé a presentar una determinada morfología en las renovaciones actuales de semejantes tipos de abordajes creativos. Para ello, hemos establecido un marco de acción, concentrando nuestros esfuerzos en la obra del creador contemporáneo Joan Millet Bonet (Gandía, 1958), puesto que su producción artística reúne los requisitos necesarios para ejercer de ejemplo, así como de objeto de estudio, en nuestras investigaciones analíticas y descriptivas. En este documento quedan registradas nuestras indagaciones, realizadas tanto en el campo narrativo y conceptual como en aquel vinculado al procedimiento y a la técnica. Además, tratamos de extraer el sustrato relacional que une ambas cuestiones entre sí, con el objetivo dirigido a averiguar la razón morfológica del producto final y su posible vigencia en el contexto artístico actual.
La present Tesi Doctoral se circumscriu dins de l'estudi de la tècnica que Marcel Duchamp va denominar ready-made. Amb la finalitat d'obtindre una visió contemporània que transcendisca a la ja estesa concepció d'aquesta manera de fer com una senzilla descontextualització de l'objecte trobat, hem decidit aprofundir en les possibles relacions subjacents que mouen l'objet trouvé a presentar una determinada morfologia en les renovacions actuals de semblants tipus d'abordatges creatius. Amb eixes intencions, hem establert un marc d'acció i hem concentrat els nostres esforços en l'obra del creador contemporani Joan Millet Bonet (Gandia, 1958), atés que la seua producció artística reuneix els requisits necessaris per tal d'exercir d'exemple, així com d'objecte a estudiar, en les nostres investigacions analítiques i descriptives. En aquest document queden registrades les nostres indagacions, realitzades tant en el camp narratiu i conceptual com en aquell vinculat al procediment i a la tècnica. A més, tractem d'extraure el substrat relacional que uneix ambdós qüestions, amb l'objectiu dirigit a esbrinar la raó morfològica del producte final i la seua possible vigència en el context artístic actual.
Marqués Serra, D. (2017). LA PLÁSTICA DEL OBJETO ENCONTRADO. Técnicas e ideología en el caso del artista invisible Joan Millet [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90564
TESIS

Background: The World Health Organization estimates that there are 517 million people in the world who are visually impaired due to uncorrected presbyopia. Equal sphere ready-made bifocal and single vision reading spectacles are an inexpensive alternative to custom made spectacles. Methods: A visual satisfaction questionnaire was administered before patients were examined at an outreach clinic and again after ready-made bifocals or reading spectacles were dispensed. The results of both sets of questions along with presenting acuities, corrected acuities, refractive data, and willingness to pay were analyzed. Results: There was an unmet need of 38% (of the 338 subjects that needed glasses only 208 had them). There was no gender bias; the unmet need was higher in the rural areas (47% rural, 36% urban). Those who could not read were 3.4 times less likely to have the glasses they needed than the literate. Unmet need decreased with every level of education. Those without any schooling showed 77% prevalence of unmet need and those with university education had an unmet need rate of 32%. Ready-made spectacles were dispensed to 89.5% of those examined. The ready-made bifocals were very well accepted, with the percentage of subjects giving the highest satisfaction rating improving from a presenting value of 11% to 89.4% with the bifocals at distance and from 6.6% to 89.4% at near. Distance visual acuity of 20/40 or better improved from the presenting value of 60% to 84.5% and near vision of 20/40 or better improved from the presenting value of 44% to 97%. With ready-made single vision readers, functionally good near vision (20/40 or better) improved from a presenting value of 38% to 97%. The highest ranking for near satisfaction improved from 6.3% to 86.6%. The subjects indicted that they would be willing to pay US$18.39 to replace the bifocals and US$16.67 to replace the readers. Conclusion: There is a high unmet need for vision correction in the population over age 35 in Nicaragua. Dissatisfaction with distance and near vision is very high. Although custom made glasses are ideal, ready-made bifocals and ready-made single vision readers are an acceptable and affordable alternative.

By conceptualizing repetition with the Swedish avantgarde aesthetics of the 1960s as a point of departure, this thesis argues that the repetition phenomena in the mature works of Per Olov Enquist (1934–2020) are indebted to the period. Hereby it brings together two major trends in the Enquist research that previously have been separate. In accordance with the main tendency of the period, the Enquistian repetitions reuse concrete constituents and are of technical and combinatory nature. According to the taxonomy introduced in the thesis, they are mainly internarrative, i.e., they transcend the limits of the individual stories. Thus, in Enquist, the superficial, anti-mimetic as well as anti-hermeneutical qualities pertaining to the period are a consequence of the specifically internarrative character of the repetitions, whereas the individual stories remain mimetically coherent. Furthermore, the thesis investigates a metapoetic discourse in the mature works; in part, it demonstrates a continuity between this discourse and the non-metapoetic notion of repetition in Enquist’s novels of the ‘60s. Altogether, the thesis proposes a way of historically situating the Enquist oeuvre as a whole; supposedly, it will contribute to further studies with similar aims.

The aim of this research project was to consider the construction of meaning within visual arts, with a view to possible applications of the concept of the flâneur as method of research. My purpose was to open new insights into the experience of everyday life through a consideration of peripheral phenomena. I formulated this as a concept through my artwork and retraced a history of development via a background of artists who paradoxically create artworks from debris. I focused on the practice of a small group of French, German and Italian artists who called themselves the “Affichistes”, in referral to the torn and shredded posters (“affiche” is the French word for poster) they use to make their art work, in a process called décollage, meaning the reverse of collage. An element of absurdity, embedded in the concept of making art by bringing debris into the gallery and thereby proposing a re-examination of commonly accepted cultural values, refers to a critical evaluation of seemingly absurd socio-economic aspects of mainstream culture that were part of the impulse initiating the wide spread counter-cultural movement associated with the 1960s. My art practice aims to bring attention to incidental photography, the principle of décollage, as well as the method of the flâneur. Using the methodology of practice-led research, I have enquired into visual aspects of public urban spaces and into the use of these spaces in contemporary visual art. The studio practice was divided into three parts. Fieldwork was conducted in and around the Perth metropolitan area, as well as on various locations in Germany and France, during two short stays in February and November 2017. The printmaking practice was conducted in various studios in Perth, Western Australia. The project also extended to a four-week residency at the University of Western Australia’s ARTLAAB studio, including an exhibition during the month of June 2017. Arising from the ARTLAAB residency, a substantial body of work was developed and produced, including digital prints, a light box, as well as a sculptural installation. An exegesis and exhibition demonstrated the aesthetic as well the conceptual potential of décollage in conjunction with the concept of the flâneur used as a research method. The method of the flâneur was explored in terms of a perambulating manner of gathering data, in form of snap-shot photography as a way of sketching found images relating to the aesthetic of the “Affichistes”. The studio practice developed these images into the artworks exhibited in “Défence d’afficher”. The perambulating manner also applied to the literature consulted for this research, encompassing, apart from academic texts, a wide variety of haphazardly gathered literary sources, such as novels, daily newspapers and magazines, rock-music lyrics and information gleaned from private conversations and personal observation.

The study reported in this thesis explores the experiences of Educators-As-Lay-Counsellors (EALCs) of the Read-me-to-Resilience (Rm2R) intervention strategy with black South African orphans in order to theorise about the value of providing EALCs with a ready-made intervention tool in the interest of supporting their resilience. EALCs are educators who are assigned the role of pastoral carer or are voluntarily fulfilling this role. Most educators who fulfil lay counselling roles are not formally equipped to be skilled helpers. Not only are educators in general poorly trained to cope with the social and emotional needs of orphaned and other vulnerable children, but working as an EALC has additional challenges. One possible way of supporting EALCs to be resilient in the face of the challenges endemic to being a lay counsellor in South Africa in the 21st century is to support EALC access to counselling tools and resilience-supporting interventions. However, existing resilience and other literature does not document how valuable providing EALCs with ready-made counselling tools/intervention programmes might be. Thus, the purpose of this study was to theorise about the value of providing EALCs with ready-made intervention tools. A secondary, but related purpose was to explore EALCs‟ experiences of the Rm2R intervention strategy as a pathway to resilience for orphaned South African learners and for the EALCs themselves. To achieve this purpose, 16 South African educators voluntarily implemented the Rm2R (as an example of a ready-made intervention) for 11 weeks with orphaned learners. Its usefulness was investigated using a pre-intervention/post-intervention design and qualitative data generation techniques (the draw-and-write technique, focus group interviews and research diaries). Participating educators reported that using the Rm2R intervention promoted their positive adjustment to the challenges of lay counselling. This included the development of a positive attitude towards lay counselling roles, and greater counselling competence and cultural awareness. Four resilience-supporting pathways were reported for orphaned learners, including the promotion of life skills, positive distraction, constructive attachments and an appreciation of cultural resources. Although the Rm2R intervention was useful as a ready-made intervention, refinements were suggested to address frustrations experienced during implementation. These findings allowed theorisation about the usefulness of providing EALCs with ready-made interventions. The study concluded that there is limited value in providing EALCs with a ready-made intervention tool in the interest of supporting EALC resilience.
PhD (Educational Psychology), North-West University, Vaal Triangle Campus, 2013

Dispossession has been playing a central role in capitalist accumulation over the last four-hundred-year history of modern capitalism. This dissertation theorizes how dispossession contributes to producing and reproducing the capitalist mode of production in Bangladesh. To do so, the dissertation empirically examines three interrelated aspects of dispossession in its three analytical chapters. First, it explores how the state and the market work in tandem to organize and control dispossession while grabbing land and expelling peasants from their places. Next, it investigates how dispossession contributes to providing 'potential capitals,' such as grabbed land and dispossessed peasants, to the production sites to be converted into 'constant capital' and 'variable capital' and to creating antagonistic class relations. Finally, it explores how market and non-market actors control those dispossessed peasants-turned-workers inside and outside factories to produce surplus values in order to reproduce the capitalist system locally and globally. These three interactive components of dispossession show three successive phases of capitalist accumulation: land-grabbing by divorcing independent producers from their livelihoods (the initial phase), converting land into capital, peasants into wage workers, and non-capitalists into capitalists (the intermediate phase), and controlling and exploiting those wage workers to produce surpluses or a cycle of new capital (the final phase). This dissertation accordingly advances a full-scale theory of dispossession in its concluding chapter by examining how the starting, intermediate, and ending points of dispossession contribute to capitalist accumulation. The dissertation draws on a wide range of empirical evidence collected from Panthapath, Dhaka, Bangladesh. These include 77 life histories, 50 interviews, a land-use survey of 1,007 structures, and a short survey of 147 slums. It also uses various historical records and archival documents. The three major findings of this dissertation are as follows. First, the dissertation shows that the state acts as a class to organize land grabs, often working in tandem with the private sector, but also in direct competition with the market. Not only does the state monopolize extra-economic means to grab land, but the market also often gains access to extra-economic means. Next, the dissertation shows that dispossession works to privatize the commons, proletarianize subsistence labor, create antagonistic class relations, and redistribute wealth upward. Finally, the dissertation identifies a new regime of labor control, called social despotism, that dominates and exploits workers in factories to produce surpluses. I conclude this study with policy recommendations designed to address the various dimensions of structural injustice described in this dissertation.
Doctor of Philosophy
This dissertation theorizes how dispossession contributes to producing and reproducing the capitalist mode of production in Bangladesh. In its three analytical chapters, the dissertation empirically examines three interrelated aspects of dispossession. First, it explores how the state and the market work in tandem to organize and control dispossession while grabbing land and expelling peasants from their places. Next, it investigates how dispossession contributes to providing grabbed land and dispossessed peasants to the production sites and to creating various class hierarchies. Finally, it explores how market and non-market actors control peasants-turned-workers inside and outside factories to produce surplus values in order to reproduce the capitalist system. These three interactive components of dispossession show three successive phases of capitalist accumulation: land-grabbing by evicting peasants from their places (phase 1), converting land into capital, peasants into wage workers, and non-capitalists into capitalists (phase 2), and exploiting wage workers to produce surpluses (phase 3). This dissertation accordingly advances a full-scale theory of dispossession in its concluding chapter by examining how the starting, intermediate, and ending points of dispossession contribute to capitalist accumulation. The dissertation draws on a wide range of empirical evidence collected from Panthapath, Dhaka, Bangladesh. These include 77 life histories, 50 interviews, a land-use survey of 1,007 structures, and a short survey of 147 slums. It also uses various historical records and archival documents. Some of the major findings of this dissertation are as follows. First, the dissertation shows that the state acts as a class to organize land grabs, often working in tandem with the private sector, but also in direct competition with the market. Not only does the state monopolize extra-economic means to grab land, but the market also often gains access to extra-economic means. Next, the dissertation shows that dispossession works to privatize the commons, proletarianize subsistence labor, create exploitative class relations, and redistribute wealth upward. Finally, the dissertation identifies a new regime of labor control, called social despotism, that oppresses and exploits workers in factories to produce surpluses.

Cette thèse interroge en acte les relations entre photographie et monochrome. Si au XIXe et XXe siècle, la photographie a participé à une redéfinition de l’art, notamment en le « libérant » d’une nécessité de faire image, le monochrome pictural peut être considéré comme un des aboutissements de cette « libération ». Mais qu’en est-il de la possibilité d’un monochrome photographique ? La photographie ayant complètement bousculé les « réalismes », l’idée et la mise en forme d’un monochrome spécifiquement photographique semble assez problématique…Si ces deux pratiques ont longtemps semblé antagonistes, l’enjeu sera d’évaluer leurs proximités et de réfléchir à certaines questions fondamentales comme : qu’est-ce qu’un monochrome photographique ? Quels en sont les nécessités et les enjeux ? Une première partie décline chronologiquement de 1929 à 2015 un corpus inédit et une analyse approfondie de pièces qui sont vraisemblablement des monochromes photographiques. Une deuxième partie s’attache à expliciter les problématiques plastiques et théoriques communes à ces monochromes photographiques, notamment autour d’une redéfinition critique de ce qu’est une image — à travers son processus de fabrication, ses relations à la réalité, au langage et à l’abstraction etc. Dans cette approche, trois pistes de réflexion sont développées théoriquement, historiquement et plastiquement : l’une aborde l’œuvre en tant qu'invention d’une couleur, la seconde traite de la littéralité de l’image et la troisième d’une photographie qui serait déjà faite. Cette recherche s’achève avec la création de pièces plastiques liées à ces trois approches spéculatives
This thesis questions the relations between photography and monochrome. If photography is considered to have taken part in a redefinition of art in the nineteenth and twentieth century, most notably «releasing» it from the necessity to produce images, the pictorial monochrome can hence be considered as one of the outcomes of this «liberation». But what about the possibility of a photographic monochrome? Photography having completely upset «realisms», the idea and framing of a specifically photographic monochrome seems rather problematic…If these two plastic practices have long seemed antagonistic, the challenge will be to evaluate their proximities and try to think about some fundamental questions such as: what is a photographic monochrome? What are its necessities and challenges?A first part chronologically displays a hitherto unpublished corpus and in-depth analysis of pieces going from 1929 to 2015, that are presumably photographic monochromes. A second part focusses on explaining the plastic and theoretical problems common to these photographic monochromes, particularly around a critical redefinition of what an image is—through its manufacturing process, its relations to reality, to language and abstraction etc. In this approach, three avenues of reflection are put to the test, developed theoretically, historically and plastically: the first approaches the artwork as invention of a color, the second deals with the literality of the image and the third with a photograph that would be already made. This research leads to the creation of pieces related to these three speculative approaches

Situé à l'articulation de l'art et de la psychanalyse, ce travail tisse des liens entre l'oeuvre de Marcel Duchamp et l'enseignement de Jacques Lacan suivant 3 axes. Selon des modalités propre à leur champ de pensée est repérée chez l'artiste et le psychanalyste une approche parallèle du langage en tant qu'instance préexistante à l'avènement du sujet parlant. La tentative d'un nouveau langage duchampien mise en oeuvre dans les ready-made rejoint les fondements lacaniens d'un inconscient structuré comme un langage. Le second axe est centré sur un parallèle entre le concept d'inframince chez Duchamp et celui d'objet a chez Lacan, s'originant tous deux d'une approche singulière de la Jouissance et d'une redéfinition du champ visuel. Entité interstitielle ou reste irreprésentable de la division subjective, ces notions pointent un espace vacant comme moteur du désir et conduisent à penser en termes nouveaux le rapport du sujet regardant à l'objet regardé. Rapport établi dans le dispositif d'Étant donnés 1 ° La chute d'eau 2° Le gaz d'éclairage qui positionne le spectateur non plus devant un tableau mais dans un espace qui le saisit, conformément à la notion de «tableau» lacanien selon des développements liés à la perspective, la géométrie projective et la topologie que le dernier axe se propose de coupler à l'oeuvre duchampienne. Duchamp expérimente ainsi un retournement de la vision qui offre les éléments d'une élaboration du fantasme tel que le théorise Lacan sous la forme d'une équation faisant se conjoindre le sujet et l'objet
Situated within the discourse of art and psychoanalysis, this work weaves links between the work of Marcel Duchamp and the teaching of Jacques Lacan following three lines of thought. With respect to the forms particular to their relative fields of thought, a parallel approach to language as instance pre-existent to the advent of the spoken subject, can be found in both the artist and the psychoanalyst. The tentative of a new duchampian language perfected in the ready-mades, rejoins the lacanian foundation of a structurel subconscious such as a language. The second line of thought centres on a parallel between the Duchamp's concept of inframince and that of Lacan's object a, both originating from a singular approach to Pleasure and a redefinition of the visual field. Interstitial entity or unrepresentable 'rest' of the subjective division, these notions point to an empty space as motor of desire and lead us to think in new terms about the relation of the subject to the object viewed. Relation established in the devices `Étant donnés 1 ° La chute d'eau, 2° Le gaz d'éclairage' which no longer position the spectator in front of the painting but in the space which seizes him, conforming to the notion of the lacanian 'painting' in the developments linked to perspective, projective geometry and topology that the last line of thought proposes to couple with the duchampienne body of work. Duchamp experienced a reversa) of vision which offers us an elaboration of fantasy such as Lacan theorises under the form of an equation linking the subject and the object

This thesis is an attempt to expand upon the ideas that permeate the practice of art making that has developed over the past two years. Art criticism, theory, history, and practice are used to give definition to the boundaries of my ever-shifting body of work. Focusing on the elusive nature of communication in both public and private spheres, these projects range from installation and sculptural work, to web projects, photography, and drawing.

This essay is more or less a very boring analog game in paper, which is trying to find the similitude between ART and CONSCIOUSNESS, as well as the boundaries of legality of taking over or stealing someone else's work. The dynamic of this game of mine starts by choosing a lecture of any research and change some keywords to create a new research. The format of this essay suggests an interaction and will need an interaction of the reader with the essay itself in order to add more concepts and could make it more personal and transform the main subject of this essay. It does not necessarily have to be an art topic, so it is very open to any personal interest. There are no rules of this game, you can change the subject, the actors, the author or try to change it back to the original lecture. Everything is possible; at the end the reader could acquire by signing this essay or theory.
[I examensarbetet ingår utställningen "YSO":] YSO explore metaphysical information in order to expand the idea of Art and consciousness, which experience and perception are both essential as a part of the information processing. Condensing this information to be able to exchange it on different states the Meta, Virtual and physical state. The formal aesthetic display of YSO is an interpretation of the different inputs objects or data that will or could construct an assumption with deliberate inputs through the senses to be able to interpret the correlation between Art and Consciousness. Material: Freezer, pick-up car, silicon form, water, wood, plastic sheet, tv, ice machine, media player and paint. Teknik: Installation/video/variable. Längd på video: 01:54:00.

The video, essay and installation is a unit and represent different states of consciousness and non-physical matter's reality (nonphysical-matter Reality) and all of these contribute to the information.

Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. 

The master work includes a written essay and a forming part. The alternative title is the name of the forming part.

The main aim of European economic integration is to reach the common market of goods, services, persons and capital. To make this aim easier to realize in terms of free movement of capital, European Commission has created the statute of the European company (Societas Europaea, SE) as a new institute and corporate vehicle on the supranational level. The paper offers information about creation of the European company according to Comunitary and Czech national law and its corporate structure and mentions several concrete cases of company creation or transformation. The end of the study is dedicated to an analysis of the current usage of European company and advantages and disadvantages of this legal form of trading company together with a summary of current experience with the existence of European company and with the possible future of transnational companies within European Union.

The thesis “Effects of the Post Multi-fiber Agreement on Bangladesh Ready Made Garments Sector” is a part of our M.Sc. in Business Administration Program. The thesis paper on this topic is done under the supervision of Mr. Göran Alsén, Professor of Blekinge Institute of Technology (BTH) Ronneby, Sweden. In our country garment industry has been playing most vital role in our national economy, foreign exchange earnings, employment, growth in other sector and most prominently women employment. In the first chapter we tried to focus on the historical background of Multi Fiber Agreement, the growth of Bangladesh Garments Manufacturer and Exporter Association (BGMEA).In 1983 the total members of BGMEA were 143 with narrow export volume but in 2007 we see the total members are 4637.They contribute 75.64% of our total export (BGMEA, 2007). People who are directly involved with this sector became worried because of phase out of quota system from January 2005.But if we observe the current scenario it is very much positive for our national economy. It’s true that competition grew high but at the same time we can say that our garments industry did not lose its market reputation compared to that of other rival competitors like China, India, Sri Lanka, Vietnam etc. It’s very obvious that we have great problem with the backward linkage industry. As a result we are facing huge competition among the competitors. We have to face huge competition with the other competitors as long as we could set up our backward linkage industry. Under these circumstances, our Government is taking necessary steps to remove this problem. It is now simply a matter of time. But we hope we will get rid of this problem very soon. In this thesis paper we have tried to analyze the performance of five different RMG companies and we have also tried to examine the impact of withdrawal of quota system. Based on these five RMG factories we observe that our RMG industry is performing well after Post MFA. In addition, if we look our total exports we see that approximately 74.93% of our total export is from RMG sector. It is very promising sector compared to other export items. Thus we can say that to survive in this competitive sector our RMG sector should take some more necessary steps like improving employee efficiency, ensuring more training facility, emphasizing on backward linkage industry etc. To attract foreign investors these are very important.

Il s'agit de voir l'évolution des vues de Rome entre deux dates clefs dans l'histoire de sa représentation : 1918, l'année de « Valori Plastici » et du retour à l'ordre avec le besoin de revoir la peinture dans ses codes traditionnels, et 1965 où la représentation entre en crise avec le prélèvement des affiches des murs de Rome de Mimmo Rotella dans lequel la Ville éternelle n'est plus représentée mais présentée. L'étude des vues d'un certain nombre de peintres italiens, connus ou moins connus, mises en parallèle avec des images photographiques et littéraires de la même époque, permettra de voir l'évolution d'une histoire de l'art italien, mais également de redécouvrir l'histoire d'une époque au travers de l'histoire d'une ville.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.

My diploma thesis is instalation, which elements are based on principales of ready-made. Documentation of living performance. Site-specific charakter, objects, and documents are common, that are one from of physical, psychical, and social injuries. Trought the installation and added text with its full range of form I am changing the discurse.

DIPLOMOVÉ PRÁCE english: This thesis defines the term of a ready-made company. It describes the purchase of a ready-made company, its process and particular phases. The thesis also deals with other areas and specifics of this segment of market economy. It compares the situation in the Czech Republic to other countries, especially to EU member states. It includes also trends and anticipated future development of market with ready-made companies. Finally, the thesis evaluates the position of ready-made companies in market economy