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Based on extensive fieldwork conducted in the District of Aguablanca, Colombia using a range of qualitative research methods, this dissertation unpacks the way in which local knowledge, capacity and agency emerge, evolve and consolidate in operational forms of conflict navigation and coping mechanisms in conflict-driven areas. Furthermore, it suggests points of engagement between local and non-local actors where hybridization of local peace practice and knowledge occurs, focusing in the predominant relevance of endogenous knowledge and the agency of actors to subvert and present alternatives to liberal peace agents in hybridity. The central question is how does local knowledge emerge, evolve and hybridize in peace practice? and, how do local and non-local forms of knowing interact? Three conceptual frameworks are used interchangeably as lens for the analysis Everyday peace, \[local\] endogenous knowledge and hybrid peace. The findings highlight that everyday peace is a reactive mechanism to conflict, closely intertwined to the social manufacturing of the territory and knitted in rational assessments of risk associated to spatial dimensions of conflict. Thus, the leap from reactive to elaborated responses to conflict, occurs at a later stage when multi-level forms of grassroots and elite social organization appear as mechanisms for self-governance of the territory, driving other forms of collective action beyond the everyday. Findings also suggest that social forms of organization appear as the main conduct of information in the coalescence of endogenous and exogenous knowledge, where hybridization of the dynamics of response to conflict occur. However, hybridization remains situated and constrained by low trust, frictions between the top-down and bottom-up approaches, and the assumptions about local capacity made within the liberal paradigm. Diverging from notions in critical peacebuilding which advocate inquiring about the way in which locals attempt to restore social order in the aftermath of conflict, this dissertation proposes to re-historicize and reconstruct the way in which locals have accommodated social life to endure conflict, and the key composites of endogenous peacemaking knowledge. Understanding conflict navigation and local agency as constructed in non-linear trajectories is a critical input for attempts to create bottom-up peace agendas.

Nicolás Guagnini: Theatre of the Self is a hybrid catalogue-reader based on the exhibition of the multi-threaded performances of Buenos Aires-born New York-based Guagnini. Many of these works, spanning from 2005 until 2019, have never been seen before or have not been seen since their original live presentation. Raised in Argentina during the "Dirty War" and violent military dictatorship, Guagnini moved to New York in the late 1990s and co-founded the film production company Union Gaucha Productions with Karin Schneider in 1997. In 2005 Guagnini became co-founder of Orchard Gallery, an artist cooperative based on the Lower East Side. The work in Theatre of the Self is informed in part by autobiography, history, politics and through Guagnini's community itself. Some performances were participatory, some were not. But all were made polyvocaly in collaboration with a group of artists with shared interests and concerns around performance and the moving image including Ei Arakawa, Leigh Ledare, Jeff Preiss, Aura Rosenberg, Karin Schneider among others.This publication invites internationally acclaimed art historians, curators and artists to think about the material in Guagnini's work within a unique format. Readers of the publication will be interested in contemporary art, film, political science, performance studies, and Latin American studies.

Las historias de este libro nos llevan a hacer un recorrido por la ciudad y sus realidades sobrecogedoras que, acaso, sean diferentes para muchos de nosotros. Cada una de ellas relata las situaciones particulares de los habitantes de la calle, que se hacen cotidianas a la vista de los transeúntes del centro y que no por ello dejan de mostrar su parte de injusticia en la manera de habitar, más no de ser, de los seres que trasiegan en condiciones de desventaja social la pequeña urbe. Sin embargo la Historias de Aura López ponen de manifiesto la dignidad humana con que los personajes que presenta, asumen las penurias sociales que los confían; pero además nos dan la certeza de que hay quienes se conmueven con su dolor y apropian en su voz el deber social de narrarlo, para ponerlo en evidencia y para no naufragar en la impotencia. Y entre todas estas historias, hay también otras de regocijo, de buena fe, de alegría, de descubrimiento asombroso de la fantasía que alimenta la infancia; relat ...