Ce mémoire a été réalisé avec les appuis financiers du Conseil de recherche en sciences humaines du Canada (CRSH) et du Fonds de recherche du Québec – Société et culture (FRQSC). / En prenant comme point de départ la trilogie 1984 d’Éric Plamondon et Pourquoi Bologne d’Alain Farah, romans tous publiés sur papier, ce mémoire se consacre à saisir ce qui change dans la lecture du texte à une époque où l’omniprésence des outils numériques bouscule nos modes de production et de réception des contenus. La réflexion se développe autour du constat que la littérature, même celle qui se publie et se lit toujours sur support imprimé, ne peut être considérée en marge de ces remaniements dont les ramifications s’étendent bien au-delà de l’usage de l’ordinateur et des écrans. Avec la conviction que ces changements doivent se penser dans la continuité et non dans la rupture, la lecture sera ici considérée comme une pratique et, en refusant son essentialisation, il s’agira de revisiter certaines théories canoniques afin de saisir la teneur de ces modulations dans le « savoir-lire » du texte. À travers diverses lectures des romans à l’étude, le premier chapitre dessine les contours d’une lecture connectée, qui se fait sous l’égide du réseautage. Le deuxième chapitre, via une lecture des théories d’Umberto Eco, soutient que ces changements affectent tout particulièrement la question de la compétence du lecteur, qui est réinterrogée à la lumière de l’accessibilité de l’information inhérente à l’époque numérique et des glissements épistémologiques que cette accessibilité sous-entend. Le troisième et dernier chapitre propose, à partir des textes de Plamondon et de Farah, des parcours de lecture qui alternent entre la page du livre et l’écran d’ordinateur où sont réinterrogées les frontières du littéraire et de l’informationnel. Des relations qui se tissent entre les pratiques de lecture et l’usage des outils numériques émerge une façon de lire définie ici comme une « lecture augmentée » du texte, qui suppose un lecteur actif qui, à travers ses parcours particuliers, questionne, doute, et prend position. Un lecteur, bref, qui ne se contente pas d’actualiser un contenu, mais qui le performe. / Taking as a starting point Éric Plamondon’s 1984 trilogy and Alain Farah’s Pourquoi Bologne, both in their published form, this master’s dissertation is dedicated to grasp the changes that occur in the act of reading in an age where the ubiquitous digital tools are challenging the way we produce and receive content. The thesis takes form around the premise that literature, even that which is published and read in a print form, cannot be considered excluded from these considerations, whose ramifications extend far beyond the use of computer and screens. With the strong belief that these changes need to be seen as a continuity rather than a fracture, the act of reading will be considered here as a practice and, by refusing it’s essentialisation, will serve as a stepping-stone to revisit certain canonical theories and understand these modulations that affect the reader’s “digital literacy”, that affects the reading patterns even when a text does not present itself in a digital form. Through various interpretive trails across Plamondon and Farah’s novels, the first chapter draws the outline of a “connective reading” that is highly influenced by the omnipresence of the network. The second chapter, by revisiting Umberto Eco’s theories, maintains that these changes affect the reader’s competence, which is re-examined in light of the informational accessibly inherent at the digital era and the epistemological shifts that accessibility implies. The third and final chapter offers different reading trails through Plamondon and Farah’s novels that alternate between the book page and the computer screen, in which the boundaries between literature and information are challenged. In the relationships that develop between reading practices and the use of digital tools emerges a certain interpretational way that is described here as “augmented reading”, concept that implies that the reader is taking actions toward the text and, through this course, questions, doubts, challenges and takes position. A reader, in short, that is not just actualizing content, but who performs it.

No description available.

Orientador: Cibele Cecílio de Faria Rozenfeld / Resumo: Nos últimos anos, com a expansão das tecnologias, presenciamos o surgimento de diferentes dispositivos, programas e aplicativos, tornando as Tecnologias Digitais da Informação e Comunicação (TDICs) cada vez mais presentes no mundo, em diferentes contextos na era da Cultura Digital (SANTAELLA, 2003; BERTOLDO, SALTO E MILL, 2018; KENSKI, 2018). Desse modo, no panorama educacional contemporâneo, ressalta-se os desafios advindos dessa nova era, pois, se por um lado essas ferramentas podem potencializar o trabalho dos educadores, sem delimitação espaçotemporal, por outro elas exigem suporte e Competência Digital dos professores e alunos (UNESCO, 2008, 2014, 2016). Nesse sentido, inúmeras são as discussões acerca da formação de professores, em uma perspectiva crítico-reflexiva (FREIRE, 1979; MOURA-FILHO, 2011) e perceptiva (MERLEAU-PONTY, 1999; MATOS E JARDILINO, 2016), para o ensino de línguas aliado ao uso das tecnologias (BAX, 2003; LEFFA, 2012; PAIVA, 2013; MARQUES-SCHÄFER E ROZENFELD, 2017). Além do mais, percebe-se o descompasso entre a velocidade transformacional das TDICs e a morosidade em integrá-las na Educação e na formação docente, bem como as condições de infraestrutura, a oferta e o manejo de recursos tecnológicos (KENNISNET, 2015; ALMEIDA E VALENTE, 2016). Partindo desse cenário, o presente trabalho tem como objetivo analisar as percepções de professores de inglês da rede pública de ensino acerca da relevância do uso das TDICs em sala de aula, da infraestrutura para ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In recent years, with the expansion of technologies, we have witnessed the emergence of different devices, programs and applications, making Digital Information and Communication Technologies (DICTs) increasingly present in the world, in different contexts in the era of Digital Culture (SANTAELLA, 2003; BERTOLDO, SALTO AND MILL, 2018; KENSKI, 2018). Thus, in the contemporary educational perspective, the challenges arising from this new era are emphasized, since, on the one hand, these tools can enhance the work of educators, without spatiotemporal delimitation, on the other, they require support and Digital Competence from teachers and students (UNESCO, 2008, 2014, 2016). In this sense, there are countless discussions about teacher education, in a critical-reflexive (FREIRE, 1979; MOURA-FILHO, 2011) and perceptive view (MERLEAU-PONTY, 1999; MATOS E JARDILINO, 2016), for teaching languages combined with the use of technologies (BAX, 2003; LEFFA, 2012; PAIVA, 2013; MARQUES-SCHÄFER AND ROZENFELD, 2017). Furthermore, there is a mismatch between the transformational speed of DICTs and the delay in integrating them in Education and teacher education, as well as the conditions of infrastructure, proposition and use of technological resources (KENNISNET, 2015; ALMEIDA AND VALENTE, 2016). Based on this scenario, the present work aims to analyze the perceptions of English teachers in the public school about the relevance of using DICTs in the classroom, the infrastructure for such use ... (Complete abstract click electronic access below) / Mestre

The objectives of this dissertation thesis could be divided into two primary analytical- interpretation areas. The first one would be trying to define the starting position of visual anthropology based on current trends in order to think about the active ingredients that discipline bases its knowledge and research. The image and sound penetrate our world to such an extent that it is necessary to reflect on the role that space plays in our life and how it is necessary to continue to work with these audiovisual principles in visual anthropology. At the same time, virtual and digital ethnography focuses our attention on changing the nature of our terrain, which needs to be taken into account immediately in our research. In some audio-visual projects I try to reflect different analytical-interpretative approaches and methods. In the project "Musicians" I ask questions how to process the theme of folk musicians from northeastern Slovakia, whose representations appear in a world full of openness, interconnection and sharing. In the experimental film project Watching Last Judgment I try to find ways to mediate sensory experience in a specific space connecting the sacred and profane places of the historic monastery in Voronet, Romania. In the last project I devote my analytical reasoning to this...

No description available.

No description available.

[pt] Os games (jogos digitais) estabelecem relação com linguagens de outras mídias e têm a propriedade de manifestar aspectos da vida humana. Constituem um fenômeno da cultura digital que vem se sofisticando cada vez mais e multiplicam o desenvolvimento de inúmeros estilos de design de jogo, produzindo experiências diversificadas através de seus inovadores sistemas de jogabilidade. Logo, os games possuem plasticidade para incorporar diversos fins e, como objeto cultural, atraem diferentes segmentos sociais para explorá-lo, tais como gamers (jogadores), desenvolvedores (indústria) e pesquisadores (acadêmicos). Esta dissertação parte de uma conceituação baseada em elementos compartilhados pelo campo cultural dos games e se apropria da análise crítica sobre a gamificação para investigar se um game do estilo de design mundo aberto possibilita mediação de princípios de aprendizagem à luz da abordagem da cognição situada. A pesquisa se fundamenta em evidências obtidas de gamers em processo de interação com o mundo virtual do game. A experimentação lançou mão da captura e análise qualitativa de gameplays. Os procedimentos metodológicos elaborados para análise qualitativa desta investigação resultaram em um roteiro de observação direta em formato de tabela de rubricas, e isso talvez seja a principal contribuição desta dissertação, cujo status epistemológico permite que a construção teórico-metodológica para análise de imagens em movimento desta pesquisa seja útil para investigar se outros estilos de design de game comportam a mediação de princípios de aprendizagem. / [en] Games relate to languages in other media and have the property of manifesting aspects of human life. They are a phenomenon of digital culture that has become increasingly sophisticated and multiply the development of innumerable styles of game design, producing diversified experiences through its innovative gameplay systems. Thus, games have plasticity to incorporate various purposes and, as a cultural object, attract different social segments to exploit it, such as gamers, developers and researchers. This dissertation starts from a conceptualization based on elements shared by the cultural field of the games and appropriates the critical analysis on the gamification to investigate if a game of the open world design style allows mediation of learning principles according to the approach of situated cognition. The research is based on evidence obtained from gamers in the process of interacting with the virtual world of the game. The experimentation used capture and qualitative analysis of gameplays. The methodological procedures developed for the qualitative analysis of this research resulted in a direct observation script in a table format, and this is perhaps the main contribution of this dissertation, whose epistemological status allows the theoretical-methodological construction for video analysis of this research to be useful for investigate whether other game design styles mediate learning principles.

Ce mémoire a reçu la mention « exceptionnel » de la part du jury. / Ce mémoire a pour objet d’étude la maison d’édition Abrüpt, dont la variété et l’hybridité des productions interrogent les frontières de la textualité. On retrouve chez Abrüpt un ensemble hétérogène d’objets numériques et imprimés qui ne se limitent guère au codex classique : espaces web dynamiques, feuillets pliables et imprimables à la demande, installations spatiales en réalité virtuelle, robots littéraires – pour ne nommer que ceux-ci. Si de nombreux choix éditoriaux témoignent d’une continuité marquée avec la tradition imprimée, la particularité d’Abrüpt consiste à investir les potentialités créatives des technologies numériques, notamment par l’écriture du code informatique. La singularité de ce projet de maîtrise repose en partie sur l’étude de l’envers technique, laquelle donne à voir le processus de création et le fonctionnement des productions littéraires que l’on peut étudier en accès libre via des archives (« dépôts ») facilement appropriables (« clonables ») sous des conditions permissives (grâce à des « licences libres »). Nous procédons d’abord à une analyse thématique d’un ensemble de manifestes choisis parmi le catalogue de la maison d’édition, ce qui permet d’en révéler les orientations économiques, politiques et idéologiques. Nous interrogeons ensuite l’« implémentation » de telles visions du monde dans deux études de cas, « Naufrages » et « enfer.txt ». Les études critiques du code examinant les régimes « extra-fonctionnels » du code informatique situé dans son contexte sociohistorique, c’est notamment par elle que nous entendons faire émerger un surcroît de sens au texte « numériquement conditionné » et à en actualiser le discours latent. Nous intégrons à notre démarche une approche conceptuelle, en particulier au détour d’un approfondissement de la notion de « programme », et recourons à des heuristiques issues des pratiques computationnelles et de l’interprétation modélisante. / The subject of this dissertation is Abrüpt, a collective publisher whose diverse and hybrid productions question the boundaries of textuality. Its wide range of digital and printed objects are far from limited to the classic codex: dynamic web spaces, leaflets that can be folded and printed on demand, virtual reality installations, literary bots—to name but a few. While many of its editorial decisions remain in line with the printed tradition, the publisher’s particularity lies in its creative use of digital technologies, in particular through the writing of computer code. This master’s project examines the technical slope of Abrüpt’s works, attempting to reveal both the creative process and functioning of these literary productions which can be studied in open access via archives (“repositories”) that can be easily appropriated (“cloned”) under permissive conditions (thanks to “free licenses”). We begin with a thematic analysis of a set of manifestos selected from Abrüpt’s catalog, unveiling the economic, political and ideological orientations of the publisher. We then evaluate the “implementation” of such worldviews in two case studies, “Naufrages” and “enfer.txt”. The method of critical code studies examines the “extrafunctional” significance of computer source code situated in its sociohistorical context. It is through this method in particular that we intend to bring to the surface the additional meanings of these “digitally conditioned” texts, showing some possible actualizations of their latent discourse. We integrate a conceptual approach to our work, in particular through an in-depth examination of the notion of “program”, and draw on heuristics from computational practices and modeling interpretation.

My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.

Esta dissertação discute o fenômeno da autoria – compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault – e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz. / This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.