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Allow me to share a way of looking at the world, which helps to understand certain behaviours when addressing a complex topic like 'privacy". It basically follows the distinction, commonly made, between three levels of understanding the world: in a common sense way, scientific and philosophical. By introducing other elements in this world view, a more clear view emerges, in which people, in their daily routine, performing their tasks, are in their 'System 1' thinking, are curious, but when it comes to grasping a fairly new concept like 'privacy', people tend to have a wrong intuition and make wrong analyses. People, for instance, use free yet privacy invasive apps, because the apps are convenient, provide added value and everyone else uses them too. So, if you want to have a meaningful dialogue about 'privacy by design', make sure people get into their System 2 thinking first. Training & awareness sessions that allow for a broader look at things, deliberative and more logical. From this it follows that a policy is best formulated in a System 2 setting, but with the System 1 reality in mind. People do not make spontaneously the right choices in the daily hurly-burly, nor can they be expected to do so. And there's yet another level of wondering for the deep divers., Thanks to Raoul Winkens, for pointing out an error in the previous version.

This text is, so to speak, the critical method of my thesis applied to a concrete subject known to all, a discourse of the method of contemporary political philosophy that I hope will be a source of inspiration: Here, as everywhere else, it was a question of formulating a critical diagnosis by posing the problem, of grasping the contributions of each of the theoretical voices in order to be able to formulate a concrete solution to a thorny legal problem, by keeping a cool head and a fair distance from the object of the situation of people in a situation of migratory wandering so as not to fall into the coldness of inhuman quantitative political decisions or into the warm empathy led by the mere benevolent feeling without consideration of its consequences or denying the inhospitable or even hostile feelings and points of view that exist and which are major parameters of the political equation that must also be taken into account., Critique et clinique de l'errance migratoire. Pour l'instauration d'une logique de rationalité juridique processuelle concernant l'errance migratoire. Il s'agit ici de formuler un diagnostic critique, en saisissant les apports principaux des approches disciplinaires de SHS ( ici en l’occurrence la démographie, les rapports d'institutions internationales, l'anthropologie et l'histoire de l'immigration, la philosophie politique et les discours politiques) pour pouvoir formuler des solutions concrètes à un problème de droit épineux, en gardant un sang froid et une juste distance face à "l'objet" qu'est la situation des personnes en situation d'errance migratoire. L'objectif est ici de montrer qu'on peut se garder de verser dans le sentiment seul qu'il s'agisse soit de l'empathie totale menée par le seul sentiment bienveillant ou de l'hostilité radicale menée par l'inquiétude et la menace que peut faire ressentir une altérité en errance. Il s'agit également de se garder de verser dans le défaut d'une implacable froideur rationnelle conduisant à des prises de décisions politiques quantitatives inhumaines sans prise en compte des situations des personnes. Il s'agit ici donc de substituer à ces positions une démarche de raisonnement visant à évaluer et pondérer les conséquences et à ne pas nier les sentiments et points de vue de toute part, en tâchant de concéder une place dans la discussion à chaque position y compris celle des points de vue inhospitaliers voire hostiles qui existent également et qui sont des paramètres majeurs de l'équation politique à aussi prendre en compte pour penser justement en sortant des hystérisations médiatico-politiques ou des postures morales qui ne peuvent plus informer ni contribuer à la formation d'un jugement critique et rationnel sur la situation des personnes en situation d'errance migratoire.Essai soumis au droit d'auteur extrait de thèse de philosophie politique : Critique et clinique des stratégies de paix au XXIème siècle, une critique deleuzo-guattarienne du pouvoir au XXIème siècle. https://halshs.archives-ouvertes.fr/tel-02298507

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-07-13T14:20:55Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Adalberto_Geovani_Nunes_Corrêa_Dissertação.pdf: 102372448 bytes, checksum: 57fe257bbde101488cbeddc039aab6eb (MD5) Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-13T18:41:25Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Adalberto_Geovani_Nunes_Corrêa_Dissertação.pdf: 102372448 bytes, checksum: 57fe257bbde101488cbeddc039aab6eb (MD5) Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-13T18:43:59Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Adalberto_Geovani_Nunes_Corrêa_Dissertação.pdf: 102372448 bytes, checksum: 57fe257bbde101488cbeddc039aab6eb (MD5) Made available in DSpace on 2017-07-13T18:44:07Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Adalberto_Geovani_Nunes_Corrêa_Dissertação.pdf: 102372448 bytes, checksum: 57fe257bbde101488cbeddc039aab6eb (MD5) Previous issue date: 2016-04-19 A produção poética e artística desta pesquisa, na linha de Processos de Criação e Poéticas do Cotidiano, transita entre as especificidades do velho e do novo, de seus conteúdos, das materialidades e imaterialidades. O trabalho intitulado Repositório dos Sentidos é um audiovisual, escolhido como primeiro objeto de análise por apontar uma série de questões relacionadas a percepção, a experienciação e aos modos de captura e edição. Estas questões poderão ser encontradas ao longo do texto também em outros trabalhos apresentados. Através do método cartográfico, conecto a escrita, a fotografia, a música, e o audiovisual seguidas de alguns posicionamentos como artista-pesquisador em relação ao momento em que vivemos - de inseguranças, incertezas, degeneração e mutação de princípios e valores. Através da minha produção no campo da arte contemporânea penso em: O que posso repor, como posso cuidar? Como isso afeta a nós e nossos ambientes? Como parte do processo, investigo, percebo, experimento e noto que estas respostas estão no trabalho, são encontradas nele ou por indícios através dele. Tento compreender o porquê de um local escolhido para vivenciá-lo e capturá-lo? O que é ativado após produzir, assistir e escutar os fragmentos gerados? Como é ter um trabalho artístico pronto, composto com fragmentos de uma experienciação? Apresento o Estado de Escuta como um estado perceptivo e sensorial. Ao longo do texto, este tipo de estado será tratado sob diversas compreensões, de maneira que, cada sub-capítulo dirá um pouco sobre ele. A partir de cada trabalho, torna-se possível refletir e expressar diversas percepções sobre o que seria um estado de escuta. Apresentarei também o Andejo - relativo a movimento - como responsável por esculpir o meu modo de olhar, de escutar e produzir. Com isto, trago os conceitos operatórios de olhar-andejo e escuta-andeja como proposições perceptivas que enunciam o andejar. A ideia de fundar um lugar a partir de um trabalho artístico, teve como objetivo experienciar e eternizar com fragmentos visuais e sonoros capturados, novos trabalhos-lugares. São autores chave desta pesquisa: Pallasmaa, Larrosa, Schafer, Tuan - experiência e percepção; Tarkovski, Cao Guimarães, Bill Viola, Cage, Pink Floyd - audiovisual/artista/música; Mafessoli, Deleuze e Guattari - mental, coletivo, ambiental. Com base em uma análise pautada nas relações humanas e atravessada pelos andejos surgiram novas opções e formatos de apresentação dos trabalhos audiovisuais de maneira interventiva. Propondo um outro ritmo de imersão e fruição estética através das proposições em arte sonora e/ou visual. E outro posicionamento e reflexões em relação ao outro - o coletivo, a natureza, o não humano -, compreendendo a partir de alguns autores, que beiramos um limite e precisamos fazer um movimento inverso em direção a um bem estar mental, social, ambiental com a arte. specifics of the old and the new, their contents, materialities and immaterialities. The work entitled Sense Repository is an audiovisual, chosen as first analyzed object by pointing out a number of issues related to perception, experiencing and capture and editing modes. These issues can be found throughout the text and also in other submissions. Through the mapping method, we connect the writing, photography, music, and audiovisual followed by a few positions as an artist-researcher in relation to the time in which we live - insecurities, uncertainties, degeneration and mutation of principles and values. Through my production in the field of contemporary art I think about: What can I replace? How can I take care? How does it affect us and our environment? As part of the process, I investigate, understand, experiment and notice that these answers are at the work, are found in it or through indications in it. I try to understand why a place was chosen to experience it and capture it? What is activated after producing, watching and listening to the fragments generated? How does it feel to have an artwork finished, made with fragments of an experience? I present the State of Listening as a perceptual and sensory state. Throughout the text, this type of state will be seen under various understandings, so that each sub-chapter will tell a little about it. From each work, it becomes possible to reflect and express different perceptions of what would be a listening state. I also introduce - the wandering – related to movement - as responsible for carving my way of looking, listening and producing. With this, we bring the operational concepts to wander-see and wander-listen as perceptual propositions that state the wandering. The idea of founding a place from an artistic work, aimed at experience and perpetuate, with visual and audio fragments captured, new work-places. The key authors of this research are: Pallasmaa, Larrosa, Schafer, Tuan - experience and perception; Tarkovsky, Cao Guimarães, Bill Viola, Cage, Pink Floyd - audiovisual / artist / song; Mafessoli, Deleuze and Guattari - mental, collective, environmental. Based on an analysis guided in human relations and crossed by wanderings, new options and presentation of audiovisual works of interventional way formats emerged, proposing another rhythm of immersion and aesthetic enjoyment through the propositions in sound and / or visual art, besides a new positioning and reflections in relation to the other - the collective, the nature, the non-human – understanding, from some authors, that we border a limit and need to do a reverse movement with the art, toward a mental, social and environmental well-being.

International audience; Si le roman a cru ne plus pouvoir croire en rien au point de ne plus assumer ni intrigue ni message ni personnage, quelques francs-tireurs ont parié sur la foi en l'événement, sur le sens et sur la présence quand même. Le Grand Meaulnes, les récits surréalistes, Le Rivage des Syrtes, les romans de Dhôtel ou de Sylvie Germain racontent l'émerveillement qui suspend à son incandescence toute temporalité, existentielle comme narrative, et réenchante le réel de la logique du sensible et du possible. L'émerveillement est une émotion paradoxale, composée d'effroi et d'extase, de stupeur et d'éblouissement. Le " merveilleux pouvoir de sentir " dont s'enorgueillit Alain-Fournier irrigue le pari du récit surréaliste sur le réel qui inclut " tout l'au-delà de cette vie ", tandis que " le sentiment de la merveille unique d'avoir vécu dans ce monde et dans nul autre " anime les personnages gracquiens. " L' art de la défaillance " dhôtelien s'accorde à la " science de l'égarement ". Enfin Sylvie Germain, dans une œuvre complexe et composite, épique et lyrique, chante la splendeur et la douleur d'être. Ces romanciers agencent des histoires qui font vibrer un peu de cette stupeur d'être au monde quand même, qui résonne de Breton à Germain. Ils me semblent relever des défis esthétiques et éthiques féconds pour le vingt-et-unième siècle naissant.

Platonovo određenje filozofije kao manije (u Fedru) filozofiju ponajprije odmiče od razboritosti takozvane zdrave pameti i dovodi je između entuzijastičke pomaknutosti pjesnika i vidovnjaka, na jednoj strani, te ironijskog pritajivanja, na drugoj strani, koje se upravo u toj pomaknutosti pokazuju kao dio istoga pitanja: kako se ono neskriveno može razotkriti u skrivenom? Erotični je entuzijazam filozofije posebna vrsta pomaknutosti. On je paradoksalna blizina koju omogućuje udaljenost. Približavanje dalekom je sjećanje. Prisjećanje tako nipošto nije reprodukcija bilo čega, nego (ljubeće) mišljenje na ono što svagda već pred-dolazi u prethodnoj razumljivosti, rasprostrtosti svega, tako da se u njoj svagda upravo pritajuje. Iz toga pak čuđenje i osupnutost vraća ono nezaboravno Platonove filozofije, neuobičajene mjere pjesništva i – vlastitoga zaborava., Plato’s definition of philosophy as a mania (in Phaedrus) in the first place distances philosophy from prudence of the so called common sense and places it between the enthusiastic madness of poets and clairvoyants on the one hand, and ironic concealment on the other, which in this very madness prove to be parts of the same question: How can that which is unhidden be revealed in the hidden? Erotic enthusiasm of philosophy is a special sort of madness. It is the paradoxical closeness that is rendered possible by distance. Approaching the distant is recollection. Recollection is by no means a reproduction of anything, but a (loving) thought of that which is always preconceived in previous intelligibility (disclosure of everything), so that it is always being concealed in it. Out of this, the wondering and amazement brings back the unforgettable in Plato’s philosophy, the unusual measures of poetry and of our own oblivion.