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From the problematic confrontation of a video game project with the multiple conditions ofits creation, the present thesis tries to highlight the constraints and the interrogations whichthey arouse. Contemporary to the information society, the video game is a witness of thecomplex evolution of the postmodern paradigm born from cybernetics. From the genesis ofthe video game to present time, technologies, the ways of playing and the productions revealthe significant oppositions in their visions of the world. The thesis shows that behind theimage of entertainment and of a consensual industry, a form of resistance can express/voiceitself from a technological, artistic and political point of view. Through the history of videogame and its future, one can read some of society's stakes/challenges linked to new formsof power. It is within a counter cultural interstice, and fed by a prior critical exam, thata resistant work/piece is developed. An original creation is progressively built in reflexivecounter cultural opposition to the mainstream dominant liberal world and its accelerationand dematerialization. From a plastic point of view, the thesis questions the return of thevirtual reality technologies, and elaborates two new notions: the experiential vehicle and thesufficient decoy. Taking advantage of this new field of investigation of creation, the thesisinvites the player to let it be used so as to do so. Keywords: Video games. Counter culture.Experiential vehicle. Counter dematerialization. Sufficient decoy. ; De la confrontation problématique d'un projet de jeu vidéo aux conditions plurielles desa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogationsqu'elles suscitent. Le jeu vidéo, contemporain de la société de l'information est un témoinde l'évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèsedu jeu vidéo au temps présent, les technologies, les façons de jouer et les productions serévèlent significatives de visions du monde opposées. La thèse ...

From the problematic confrontation of a video game project with the multiple conditions ofits creation, the present thesis tries to highlight the constraints and the interrogations whichthey arouse. Contemporary to the information society, the video game is a witness of thecomplex evolution of the postmodern paradigm born from cybernetics. From the genesis ofthe video game to present time, technologies, the ways of playing and the productions revealthe significant oppositions in their visions of the world. The thesis shows that behind theimage of entertainment and of a consensual industry, a form of resistance can express/voiceitself from a technological, artistic and political point of view. Through the history of videogame and its future, one can read some of society's stakes/challenges linked to new formsof power. It is within a counter cultural interstice, and fed by a prior critical exam, thata resistant work/piece is developed. An original creation is progressively built in reflexivecounter cultural opposition to the mainstream dominant liberal world and its accelerationand dematerialization. From a plastic point of view, the thesis questions the return of thevirtual reality technologies, and elaborates two new notions: the experiential vehicle and thesufficient decoy. Taking advantage of this new field of investigation of creation, the thesisinvites the player to let it be used so as to do so. Keywords: Video games. Counter culture.Experiential vehicle. Counter dematerialization. Sufficient decoy. ; De la confrontation problématique d'un projet de jeu vidéo aux conditions plurielles desa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogationsqu'elles suscitent. Le jeu vidéo, contemporain de la société de l'information est un témoinde l'évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèsedu jeu vidéo au temps présent, les technologies, les façons de jouer et les productions serévèlent significatives de visions du monde opposées. La thèse ...

From the problematic confrontation of a video game project with the multiple conditions ofits creation, the present thesis tries to highlight the constraints and the interrogations whichthey arouse. Contemporary to the information society, the video game is a witness of thecomplex evolution of the postmodern paradigm born from cybernetics. From the genesis ofthe video game to present time, technologies, the ways of playing and the productions revealthe significant oppositions in their visions of the world. The thesis shows that behind theimage of entertainment and of a consensual industry, a form of resistance can express/voiceitself from a technological, artistic and political point of view. Through the history of videogame and its future, one can read some of society's stakes/challenges linked to new formsof power. It is within a counter cultural interstice, and fed by a prior critical exam, thata resistant work/piece is developed. An original creation is progressively built in reflexivecounter cultural opposition to the mainstream dominant liberal world and its accelerationand dematerialization. From a plastic point of view, the thesis questions the return of thevirtual reality technologies, and elaborates two new notions: the experiential vehicle and thesufficient decoy. Taking advantage of this new field of investigation of creation, the thesisinvites the player to let it be used so as to do so. Keywords: Video games. Counter culture.Experiential vehicle. Counter dematerialization. Sufficient decoy. ; De la confrontation problématique d'un projet de jeu vidéo aux conditions plurielles desa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogationsqu'elles suscitent. Le jeu vidéo, contemporain de la société de l'information est un témoinde l'évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèsedu jeu vidéo au temps présent, les technologies, les façons de jouer et les productions serévèlent significatives de visions du monde opposées. La thèse ...

This article deals with the rise of a "heathen" counterculture that spans the entire political spectrum. In spite of the ideological variance, however, this subculture is developing a common, coherent discourse based on a radical critique of modernity & its manifestations. Adapted from the source document.

Brazil experienced in March 1964 the start of one of the darkest and most painful chapters in the country's history. The right-wing military coup established, from the establishment of Institutional Act 5 (AI-5) in 1968, a strong and massive repression materialized by the restriction of freedom and by control and prohibition artistic expressions and political actions. Under this strategy of controlling these opponents, the military set up a strong and complex repressive apparatus of censorship and control of intellectual, cultural and artistic production. However, the military dictatorship does not result in a general exhaustion of the world of ideas, art and culture. Artists and intellectuals will develop other forms and means of expressing themselves and transmitting their ideological positions and discourse which became more complex and diverse in their means of expression, their resistance and their non-passivity in the face of repression. In this context of repression, since its beginnings in 1974, the theater company Asdrúbal Trouxe o Trombone was going to launch a dramaturgical revolution on the traditional stage of Brazilian theater. With an original and simple language, easily digested by the youth, and at the same time full of debauchery and sarcasm towards the status quo and the problems of Brazilian society, Asdrúbal Trouxe o Trombone was one of the major groups that took over from the dramaturgical experimentation of the 1960s. The troupe continued the path of unblocking the field by breaking consolidated structures, opening the theater to a major freedom and irreverence by promoting a shift in artistic thought which will result in part in the establishment of a a new theatrical aesthetic, Neither is it absent from a particular political ideology. The experimentation of dramaturgy, of which Asdrúbal Trouxe o Trombone will be one of the spearheads in the 1970s, was eager to determine the death of an established and consolidated theatrical system, and will shake the absolute truths imposed ...

Brazil experienced in March 1964 the start of one of the darkest and most painful chapters in the country's history. The right-wing military coup established, from the establishment of Institutional Act 5 (AI-5) in 1968, a strong and massive repression materialized by the restriction of freedom and by control and prohibition artistic expressions and political actions. Under this strategy of controlling these opponents, the military set up a strong and complex repressive apparatus of censorship and control of intellectual, cultural and artistic production. However, the military dictatorship does not result in a general exhaustion of the world of ideas, art and culture. Artists and intellectuals will develop other forms and means of expressing themselves and transmitting their ideological positions and discourse which became more complex and diverse in their means of expression, their resistance and their non-passivity in the face of repression. In this context of repression, since its beginnings in 1974, the theater company Asdrúbal Trouxe o Trombone was going to launch a dramaturgical revolution on the traditional stage of Brazilian theater. With an original and simple language, easily digested by the youth, and at the same time full of debauchery and sarcasm towards the status quo and the problems of Brazilian society, Asdrúbal Trouxe o Trombone was one of the major groups that took over from the dramaturgical experimentation of the 1960s. The troupe continued the path of unblocking the field by breaking consolidated structures, opening the theater to a major freedom and irreverence by promoting a shift in artistic thought which will result in part in the establishment of a a new theatrical aesthetic, Neither is it absent from a particular political ideology. The experimentation of dramaturgy, of which Asdrúbal Trouxe o Trombone will be one of the spearheads in the 1970s, was eager to determine the death of an established and consolidated theatrical system, and will shake the absolute truths imposed ...

Brazil experienced in March 1964 the start of one of the darkest and most painful chapters in the country's history. The right-wing military coup established, from the establishment of Institutional Act 5 (AI-5) in 1968, a strong and massive repression materialized by the restriction of freedom and by control and prohibition artistic expressions and political actions. Under this strategy of controlling these opponents, the military set up a strong and complex repressive apparatus of censorship and control of intellectual, cultural and artistic production. However, the military dictatorship does not result in a general exhaustion of the world of ideas, art and culture. Artists and intellectuals will develop other forms and means of expressing themselves and transmitting their ideological positions and discourse which became more complex and diverse in their means of expression, their resistance and their non-passivity in the face of repression. In this context of repression, since its beginnings in 1974, the theater company Asdrúbal Trouxe o Trombone was going to launch a dramaturgical revolution on the traditional stage of Brazilian theater. With an original and simple language, easily digested by the youth, and at the same time full of debauchery and sarcasm towards the status quo and the problems of Brazilian society, Asdrúbal Trouxe o Trombone was one of the major groups that took over from the dramaturgical experimentation of the 1960s. The troupe continued the path of unblocking the field by breaking consolidated structures, opening the theater to a major freedom and irreverence by promoting a shift in artistic thought which will result in part in the establishment of a a new theatrical aesthetic, Neither is it absent from a particular political ideology. The experimentation of dramaturgy, of which Asdrúbal Trouxe o Trombone will be one of the spearheads in the 1970s, was eager to determine the death of an established and consolidated theatrical system, and will shake the absolute truths imposed ...

Brazil experienced in March 1964 the start of one of the darkest and most painful chapters in the country's history. The right-wing military coup established, from the establishment of Institutional Act 5 (AI-5) in 1968, a strong and massive repression materialized by the restriction of freedom and by control and prohibition artistic expressions and political actions. Under this strategy of controlling these opponents, the military set up a strong and complex repressive apparatus of censorship and control of intellectual, cultural and artistic production. However, the military dictatorship does not result in a general exhaustion of the world of ideas, art and culture. Artists and intellectuals will develop other forms and means of expressing themselves and transmitting their ideological positions and discourse which became more complex and diverse in their means of expression, their resistance and their non-passivity in the face of repression. In this context of repression, since its beginnings in 1974, the theater company Asdrúbal Trouxe o Trombone was going to launch a dramaturgical revolution on the traditional stage of Brazilian theater. With an original and simple language, easily digested by the youth, and at the same time full of debauchery and sarcasm towards the status quo and the problems of Brazilian society, Asdrúbal Trouxe o Trombone was one of the major groups that took over from the dramaturgical experimentation of the 1960s. The troupe continued the path of unblocking the field by breaking consolidated structures, opening the theater to a major freedom and irreverence by promoting a shift in artistic thought which will result in part in the establishment of a a new theatrical aesthetic, Neither is it absent from a particular political ideology. The experimentation of dramaturgy, of which Asdrúbal Trouxe o Trombone will be one of the spearheads in the 1970s, was eager to determine the death of an established and consolidated theatrical system, and will shake the absolute truths imposed ...

This thesis aims to study the Bolognese version of the Movimento del '77: an Italian political and creative movement that emerged in 1977, after a decade of international mobilizations and countercultures. The city of Bologna, flagship of the Italian communism and the "Emilian model", home of the oldest University in the Western world, experienced in the 1970s a major and versatile counter-cultural impetus: underground magazines (A/ traverso), first free radio stations (Radio Alice), experimental theater, early Italian punk rock bands, graffiti and happenings of the Indiani metropolitani… Impregnated with the philosophy of Deleuze and Guattari among others, the movement spreads in a "rhizomatic" way. By invoking the Bakthinian concept of "carnival reversal" and applying it to the field of counterculture, our work attempts to redefine what characterizes the productions of the Movimento del '77. At the crossroads of politics and poetry, these creations are marked by the iconoclastic mechanisms of degradation and trivialization that are specific to the carnival and refer to its revolutionary potential. Finally, our research brings some nuance to a vision of the 1980s as the decade of political "reflux" and individualism. Despite the "years of Lead" and political defeats, these creative experiences have not been in vain. The ferments of the Movimento del '77 then spatialize and spread through the integrated province of Bologna, in a true "psychogeographical drifting" which resembles a post-political meditation. ; Cette thèse se propose d'étudier la déclinaison bolonaise du Movimento del '77, un mouvement politique et créatif italien qui voit le jour en 1977, après une décennie de mobilisations et de contre-cultures à l'échelle internationale. La ville de Bologne, vitrine du communisme italien et du « modello emiliano », siège de la plus ancienne Université du monde occidental, connaît, dans les années 1970, un élan contre-culturel majeur et protéiforme : revues underground (A/traverso), premières radios libres ...

This thesis aims to study the Bolognese version of the Movimento del '77: an Italian political and creative movement that emerged in 1977, after a decade of international mobilizations and countercultures. The city of Bologna, flagship of the Italian communism and the "Emilian model", home of the oldest University in the Western world, experienced in the 1970s a major and versatile counter-cultural impetus: underground magazines (A/ traverso), first free radio stations (Radio Alice), experimental theater, early Italian punk rock bands, graffiti and happenings of the Indiani metropolitani… Impregnated with the philosophy of Deleuze and Guattari among others, the movement spreads in a "rhizomatic" way. By invoking the Bakthinian concept of "carnival reversal" and applying it to the field of counterculture, our work attempts to redefine what characterizes the productions of the Movimento del '77. At the crossroads of politics and poetry, these creations are marked by the iconoclastic mechanisms of degradation and trivialization that are specific to the carnival and refer to its revolutionary potential. Finally, our research brings some nuance to a vision of the 1980s as the decade of political "reflux" and individualism. Despite the "years of Lead" and political defeats, these creative experiences have not been in vain. The ferments of the Movimento del '77 then spatialize and spread through the integrated province of Bologna, in a true "psychogeographical drifting" which resembles a post-political meditation. ; Cette thèse se propose d'étudier la déclinaison bolonaise du Movimento del '77, un mouvement politique et créatif italien qui voit le jour en 1977, après une décennie de mobilisations et de contre-cultures à l'échelle internationale. La ville de Bologne, vitrine du communisme italien et du « modello emiliano », siège de la plus ancienne Université du monde occidental, connaît, dans les années 1970, un élan contre-culturel majeur et protéiforme : revues underground (A/traverso), premières radios libres ...

Filipino culture has a strong reference to religion given its history of religious - both native and foreign - influences. Since 1565, the state-church relationship (mainly with the Catholic Church) bears the deep marks left by this past. The legal framework of this relationship has evolved from union to neutral separation. Religions in the Philippines often convey opposite values and rules of conduct. Since 1987, the Catholic Church has progressively abandoned the political area and shifted its action to social grounds. Muslims, a minority in the southern Philippines, have developed an Islamic counterculture that challenges national stability in the name of a religious ideals gone astray.