Bricoleur

Studio sul lavoro di Jean-Marie Floch in "Identità visive", in particolare con riferimento ai saggi:
- la via dei loghi
- il coltello del bricoleur
- estetica ed etica del total look chanel
Lo scopo del lavoro è analizzare semioticamente il rapporto tra un testo diverso da quello verbale e l'identità che esso trasmette all'interno di una certa cultura condivisa.

A small proportion of people claim to live and consume in ways they consider more sustainable in social and environmental terms. As yet, we do not know how many exactly, but possibly no more than 5‐10% of the population. The thesis intentionally focuses on this minority finding there are at least three reasons why it is interesting to do so. First because they are all but ignored in sociologies of practice in the context of sustainable consumption which considers this minority an insignificance and focuses almost exclusively on a ‘mainstream’ majority which more closely maps onto the stereotype of ‘consumer society’. Second because we think we can learn much from juxtapositioning this group empirically against the spectrum of theories of practice to devise more robust and appropriate theoretical explanation of how these subjects, in the context of everyday practice, negotiate the many interpretations and contradictions involved in trying to put ‘sustainability’ into practice. Third because by understanding them better we can reflect on theoretical, empirical and policy implications for nudging this minority of the population to a higher percentage.

The thesis sits at one end of a spectrum of positions in theories of practice applied to consumption, and in particular with a normative interest in sustainable consumption. It aligns with those who seek to re‐insert the reflexive agent into accounts of practice, with particular reference to the conceptual construct of the ‘citizen‐consumer’ and the context of political consumption (Spaargaren & Oosterveer 2010). Referring to theories of consumption, the thesis adds perspectives on how people negotiate multiple domains of consumption simultaneously since everyday practice involves interactions across multiple domains (such as eating, mobility, householding); and yet typically in theories of practice these are artificially separated into single domains. The study therefore considers the implications which domains have on how particular practices are carried out, first separately (per domain) and then as they come together (in a cross‐cutting domain perspective). The study then takes theories of practice as a springboard to develop a theoretical position and framework which better fits the narrated accounts of the 37 subjects who participated in this study. In iteratively co‐developing a theoretical framework and multiple ‘stages’ of empirical research (using grounded theory methodology) the study seeks to explain theoretically how subjects justify their ‘doings’ (drawing on ‘conventions’ and ‘orders of worth’ (Boltanski & Thévenot 2006)); how they appear to muddle through as best they can (introducing ‘bricolage’ (Lévi‐Strauss 1972)); and how subjects appear to devise decision short‐cuts when approaching decisions characterised by the multiple contradictions of sustainable consumption and incomplete or ‘too much’ information (introducing heuristics (Gigerenzer & Gaissmaier 2011)).

In joining calls to re‐insert the reflexive agent to account for how, when and why subjects enact changes towards trajectories which they consider ‘more sustainable’ in their own terms, the study takes inspiration from Margaret Archer’s morphogenesis approach (1998) and explores her model of multiple modes of reflexivity, announcing certain modes as ‘better fitting’ conditions of late modernity. The study finally finds that contrary to a notion of the un‐reflexive agent, the citizen‐consumer is able to articulate visions of the ‘good life’. In addition she is able to fold these visions back onto everyday practices performed in the past, present and future, laying out normative guidelines and positive accounts of how to achieve personal or societal well‐being and happiness. The overarching positioning of the study is much inspired by Andrew Sayer’s (2011; 2000) ‘normative turn’ calling upon social sciences to re‐instate research into the things about which people care. The study is therefore guided by the overarching question of how people translate their environmental and/or social concerns into the ways in which they live and consume.

Esta comunicação empreende sobre a construção do conceito do olhar educado nos (des)caminhos da cultura visual, enquanto epistemologia. O olhar educado funda a noção de que as nossas interações com o mundo e as nossas interações a partir de práticas discursivas são condicionadas dentro de uma matriz da qual, muitas das vezes, não podemos escapar. Em contrapartida, eu me aproprio da expressão olhar educado, compreendendo-o a partir das interações e intercâmbios de experiências. A cultura visual contribui para alargar este conceito a partir dos escapes, das resistências, das linhas de fuga, tentando dessacralizar noções normatizadas. Faço além de uma revisitação teórica na cultura visual, mas analiso, a partir de roteiro de perguntas, as práticas artísticas de cineastas e artistas entre discursos e imagens do agenciamento dos movimentos dadá e do dogma95 (do cinema).
Esta comunicação empreende sobre a construção do conceito do olhar educado nos (des)caminhos da cultura visual, enquanto epistemologia. O olhar educado funda a noção de que as nossas interações com o mundo e as nossas interações a partir de práticas discursivas são condicionadas dentro de uma matriz da qual, muitas das vezes, não podemos escapar. Em contrapartida, eu me aproprio da expressão olhar educado, compreendendo-o a partir das interações e intercâmbios de experiências. A cultura visual contribui para alargar este conceito a partir dos escapes, das resistências, das linhas de fuga, tentando dessacralizar noções normatizadas. Faço além de uma revisitação teórica na cultura visual, mas analiso, a partir de roteiro de perguntas, as práticas artísticas de cineastas e artistas entre discursos e imagens do agenciamento dos movimentos dadá e do dogma95 (do cinema).
Esta comunicação empreende sobre a construção do conceito do olhar educado nos (des)caminhos da cultura visual, enquanto epistemologia. O olhar educado funda a noção de que as nossas interações com o mundo e as nossas interações a partir de práticas discursivas são condicionadas dentro de uma matriz da qual, muitas das vezes, não podemos escapar. Em contrapartida, eu me aproprio da expressão olhar educado, compreendendo-o a partir das interações e intercâmbios de experiências. A cultura visual contribui para alargar este conceito a partir dos escapes, das resistências, das linhas de fuga, tentando dessacralizar noções normatizadas. Faço além de uma revisitação teórica na cultura visual, mas analiso, a partir de roteiro de perguntas, as práticas artísticas de cineastas e artistas entre discursos e imagens do agenciamento dos movimentos dadá e do dogma95 (do cinema).

La privacidad ha sido la gran aportación de la burguesía al espacio doméstico y el confort constituye su condición necesaria. El confort representa la piedad de la casa hacia sus habitantes. Este confort doméstico ha supuesto cambios sustanciales en la relación del hombre con los objetos, y no solo en su carácter utilitario sino también en el simbólico. El presente artículo va trenzando, como en una fuga musical, la evolución del concepto de confort con episodios significativos de la conversión atípica de objetos en arquitectura.
El objetivo es mostrar cómo el protagonismo creciente de ambos, confort y objetos, requiere un replanteamiento de la arquitectura que vaya más allá de la aséptica invisibilidad a la que se quiere relegar.


Privacy was the greater contribution from the bourgeoisie to domestic space and Comfort its necessary attribute. Comfort represents the piety of the house towards its inhabitants. This domestic comfort has supposed substantial changes in the relationship of man with objects, and not only in its utilitarian character but also in the symbolic aspects. The present article is twisting, as in a musical fugue, the evolution of the concept of comfort with significant episodes of the atypical conversion of objects into architecture.
The aim is to show how the growing prominence of both terms, comfort and objects, requires a rethinking of architecture that goes beyond the aseptic invisibility to which one wants to relegate.

This article proposes a reflection about the term DIY, taking it as its methodological way, once it aims to rethink the “Psi practices”, thus questioning the usual clinical method in a transdisciplinary point of view. Such reflection serves as an apparatus that aids the professional (bricoleur) to evade away from scientistic logic through this process known as DIY which aims to promote an interrelationship with other knowledge, such as anthropology, arts, philosophy, sociology, popular knowledge, etc. Therefore, through a literature review, and under the influence of Deleuze and Guattari’s ideas, the text will emphasize the need for the emergence of a rhizomatic clinic, that based in DIY, will be able to create the tools that aim to provide the necessary support in the face of current demands brought to the PSI professional.

Studio sul lavoro di Jean-Marie Floch in "Identità visive", in particolare con riferimento ai saggi: - la via dei loghi - il coltello del bricoleur - estetica ed etica del total look chanel Lo scopo del lavoro è analizzare semioticamente il rapporto tra un testo diverso da quello verbale e l'identità che esso trasmette all'interno di una certa cultura condivisa.

Current efforts to measure, catalogue or otherwise document what are now known as informal settlements – a term that expresses more our lack of ability to measure than the inherent nature of the settlement itself – are limited by the mechanisms of research – a set of tools that are designed to assess conditions found within more formal sectors.  As a result, architects, urban planners, policy-makers and others who are helping to frame the next generation cityscape are doing so with only a cursory understanding of the conditions faced by somewhere between 800 million and 1 billion people - a blindspot that will shortly balloon to somewhere between 1.3 billion and 2.5 billion citizens. 

These paired conditions – the exponential growth in informal settlement and our almost complete inability to understand them - will only grow in importance over time.  Unfortunately, to address the former is impossible unless we first address the latter and to address the latter requires that we adjust our techniques in light of the still-unknown realities of the former.  This paradox forces our hand as researchers into and designers of said environments, compelling us to adopt techniques of research, design and construction that permit a more gradual and systematic interrogation of current mechanisms based upon heretofore unknown conditions.  That is, instead of entering into informal settlements as an engineer, with a preconstructed survey or premeditated mission (i.e. to tabulate numbers, design sustainable homes, or build a community center) we must enter into these situations as a bricolleur, using small acts of observation, data-collection, and construction in order to gain the knowledge necessary to craft more profound methods of working.  In this way, the tools and measuring devices of the bricolleur-researcher function less like objects, designed to a fixed and singular purpose, and more like Claude-Levi-Strauss’ objects of knowledge: artifacts designed provisionally, through which we might instigate the creation of new tools and objects.

To illustrate these concepts, this paper will turn to a series of $5 architectures created in this spirit within the informal settlements of India, Bolivia and the US.  The measurements, insights, and methods unearthed through these small architectures will be presented, analyzed and discussed, in the hopes of, eventually, developing a more iterative research paradigm