A presente dissertação tem como foco as relações entre público e arte, propostas por instituições culturais. O estudo parte do pressuposto de que, sobretudo a partir da década de 1960, um dispositivo pedagógico da arte é organizado, no sentido de responder a uma urgência histórica do nosso tempo, qual seja: a de criar estratégias de acessibilidade à arte. Nesse contexto, o principal objetivo do trabalho consiste em compreender as formas pelas quais esse dispositivo “ensina-nos” modos de nos relacionarmos com as artes visuais hoje. Como corpus de análise, optou-se por privilegiar um espaço específico de enunciação, a saber: quatro materiais didáticos produzidos por instituições culturais, destinados a professores e alunos, cuja temática é a obra do artista gaúcho Iberê Camargo. Com base no pensamento de Michel Foucault (em especial, os conceitos de saber, poder e subjetividade), buscou-se identificar nesses materiais: a) a maneira como a arte aparece objetivada pelos regimes de saber do dispositivo; b) como esses regimes são fixados e quais relações de poder estão em jogo; c) e, por fim, o modo como os materiais orientam a forma pela qual o sujeito deveria aproximar-se das artes visuais. As análises desenvolvidas possibilitaram apontar que os museus, ao se definirem como instituições educativas, legitimam o atravessamento de certos discursos pedagógicos em sua estrutura, dentre os quais destaquei: o construtivismo piagetiano, o “movimento interdisciplinar” e a educação libertadora de Paulo Freire. Essa dinâmica de organização dos saberes, por sua vez, talvez explique o porquê de o público ser convidado, nas atividades pedagógicas, a trazer referências pessoais e, a partir delas, estabelecer relações com formas de existência do artista e seu processo criativo. / The present dissertation has as focus the relations between the general public and the art, which are proposed by cultural institutions. The study parts from the presupposition that, mainly from the sixties, a pedagogical dispositif of art is organized in order to respond to a historic urgency of our time, namely: to create strategies to the art accessibility. In this context, the main objective of this study is to understand the ways in which this device "teaches us" ways of relating to the visual arts today. As a corpus analysis, it was chosen to focus on a specific space of enunciation: four teaching materials produced by cultural institutions, for teachers and students, whose theme is the gaucho artist's work Iberê Camargo. Based on the thought of Michel Foucault (especially the concepts of knowledge, power and subjectivity), the attempt was to identify in these materials: a) how art appears objectified by the knowledge systems from the dispositif, b) how these systems are fixed and which power relations are at stake, c) and, finally, how the materials guide the way in which the subject should approach the visual arts. By the developed analysis, it was possible to identify that the museums, when defining themselves as educational institutions, legitimate the crossing of certain pedagogical discourses in their structure, among which it was highlighted: Piaget's constructivism, the "interdisciplinary movement" and liberating education of Paulo Freire. This dynamic of knowledge organization, in turn, may explain why the public is invited, in educational activities, to bring personal references, and from them, establish relationships with forms of existence of the artist and his creative process.

No description available.

Cette thèse est le récit d’un cheminement où chaque étape a permis une nouvelle émergence. Nécessité de revenir dans l’après-coup pour expliciter les investissements qui ont été les nôtres dans les objets que nous avons explorés tout au long de cette aventure doctorale, et dans un double mouvement de « re-viens » et « sur-viens », je recouvre le passé d’un regard nouveau, ce déjà là inaccessible à la conscience. Jusqu’à ce jour où les mots ont livré leur secret : après trois années d’errances le « moment » doctoral s’est épanoui dans le lien vécu, perçu, conçu, invitation à laisser filer la ligne d’écriture pour dériver d’un dispositif-thèse qui fixait les conditions d’impossibilité d’une re-connaissance, et condamnait notre expérience de vie à rester le résidu de l’Univers-Cité. Oser la recherche impliquée. Rapport à l’écrit, écriture, les mots, le texte, le « récit qui fait thèse », à la croisée de la rencontre, de l’invention et de la découverte, se dévoile. Il fallait re-penser la thèse à la perspective d’une nouvelle nécessité : la Ligne, lien fécond qui tisse les ponts entre lignes de vie, lignes de fuite, lignes de partage, lignes de conduite, lignes d’écriture… hors lignes qui trace les soubassements de ce travail de recherche, dont le matériau biographique inscrit un corps à corps inédit avec les concepts. Cette ligne d’écriture nous perdra entre « correspondances », journal de recherche, journal d’étonnement et récits de vie. C’est ainsi que l’horizon de la thèse inscrira le pouvoir formateur de l’écriture, une écriture comme instrument d’objectivation de l’expérience, comme mode de pensée permettant la mise en discussion et l’appropriation de savoirs. / This thesis is the aftermath story of a journey. It relates how a doctorate has developed into an existential journey. To that end, I had to deviate from what a thesis usually stands for with its limiting terms, as they do not allow the identification of the subject as the object of the research. The "thesis story" presents how the discourse has taken over a life story in the process of the research. I had to re-think the thesis in light of the biographical materials as they emerged facing up to the concepts : daring implied research and facing up to one's own words. This line of writing will lead us into 'correspondences', a research diary, a diary of amazement and life stories. So much so, that the thesis will allow the shaping power of the writing to reflect a way of thinking, discussion and argumentation, as well as new knowledge.

Cette thèse se propose de penser l’expérience des dispositifs écraniques à partir de pratiques artistiques contemporaines. Il s’agit d’analyser comment des artistes travaillant à partir d’images appareillées (de l’installation vidéo au cinéma expérimental en passant par le net art) et de leur mise en espace, opèrent des déplacements dans les diverses strates des dispositifs pour proposer des situations esthétiques qui relèvent du hors champ, de l’impensé, du refoulé des dispositifs écraniques fonctionnels, faisant écho aux frictions qui se jouent entre leur mode d’action et notre expérience.Face à la difficulté de définir les dispositifs écraniques de par la multiplicité de leurs formes et de leur usages, il est proposé en premier lieu une réflexion sur la notion de dispositif, corrélée à celles d’écran et de technologie (I). Puis sont considérées les tactiques artistiques permettant de détourner l’impact de ces dispositifs (par l’expérimentation de la mise en défaut, du détournement, de l’appropriation…). S’en suivent cinq mouvements, comme autant de voies de déplacement, qui abordent les dispositifs écraniques selon des entrées différentes : il s’agit de révéler la part d’être de l’appareil par des opérations plastiques et contextuelles (II), de créer des voies de figuration alternatives par et à travers l’interface (III), de détourner la relation physique et émotionnelle entretenue avec l’écran (IV), d’opposer à la mobilité des écrans celles des spectateurs (V), et enfin de confronter les dispositifs écraniques à l’épreuve de l’espace (VI). Un dernier chapitre propose une synthèse de ces déplacements concrétisée par l’analyse d’un projet de création (entrepris parallèlement aux recherches théoriques) où sont mis en œuvre les mouvements précités (VII).Les analyses plastiques sont étayées par des mises en perspective historiques et sociétales, avec une considération particulière pour les questions de réception et d’usage. / In a time when screens are more and more studied and analysed, this thesis is based on observations of both users’ behaviors and contemporary artists’ productions.It chooses to present the experience created by screened devices and systems through these observations. It defines the screen as an apparatus — meaning, as a mix of different elements assembled for a specific purpose — which articulates separation and re-synthesising. We analyse how artists work with images in devices (from video installation to experimental cinema and net art) and how they use space to produce an attentional shift, therefore creating artworks that call for realizations.Facing the difficulties of clearly defining screened apparatus due to the multitudes of shapes they take and uses they create, we first orient our reflexion to the very notion of apparatus, combined with those of screen and technologie. Then we consider the artists’ tactics to hijack the impact of these apparatus (through experimentation, appropriation and misappropriation). This is followed by five movements, presented as possible means of displacements, each addressing, in its own way, the screened apparatus. We study the different relationships those screens can have inside the apparatus, and how they react and interact with space. We feed this research with analyses of artworks, historical and societal perspectives, with a special leaning towards the notions of reception and user’s experience.

A presente dissertação tem como foco as relações entre público e arte, propostas por instituições culturais. O estudo parte do pressuposto de que, sobretudo a partir da década de 1960, um dispositivo pedagógico da arte é organizado, no sentido de responder a uma urgência histórica do nosso tempo, qual seja: a de criar estratégias de acessibilidade à arte. Nesse contexto, o principal objetivo do trabalho consiste em compreender as formas pelas quais esse dispositivo “ensina-nos” modos de nos relacionarmos com as artes visuais hoje. Como corpus de análise, optou-se por privilegiar um espaço específico de enunciação, a saber: quatro materiais didáticos produzidos por instituições culturais, destinados a professores e alunos, cuja temática é a obra do artista gaúcho Iberê Camargo. Com base no pensamento de Michel Foucault (em especial, os conceitos de saber, poder e subjetividade), buscou-se identificar nesses materiais: a) a maneira como a arte aparece objetivada pelos regimes de saber do dispositivo; b) como esses regimes são fixados e quais relações de poder estão em jogo; c) e, por fim, o modo como os materiais orientam a forma pela qual o sujeito deveria aproximar-se das artes visuais. As análises desenvolvidas possibilitaram apontar que os museus, ao se definirem como instituições educativas, legitimam o atravessamento de certos discursos pedagógicos em sua estrutura, dentre os quais destaquei: o construtivismo piagetiano, o “movimento interdisciplinar” e a educação libertadora de Paulo Freire. Essa dinâmica de organização dos saberes, por sua vez, talvez explique o porquê de o público ser convidado, nas atividades pedagógicas, a trazer referências pessoais e, a partir delas, estabelecer relações com formas de existência do artista e seu processo criativo. / The present dissertation has as focus the relations between the general public and the art, which are proposed by cultural institutions. The study parts from the presupposition that, mainly from the sixties, a pedagogical dispositif of art is organized in order to respond to a historic urgency of our time, namely: to create strategies to the art accessibility. In this context, the main objective of this study is to understand the ways in which this device "teaches us" ways of relating to the visual arts today. As a corpus analysis, it was chosen to focus on a specific space of enunciation: four teaching materials produced by cultural institutions, for teachers and students, whose theme is the gaucho artist's work Iberê Camargo. Based on the thought of Michel Foucault (especially the concepts of knowledge, power and subjectivity), the attempt was to identify in these materials: a) how art appears objectified by the knowledge systems from the dispositif, b) how these systems are fixed and which power relations are at stake, c) and, finally, how the materials guide the way in which the subject should approach the visual arts. By the developed analysis, it was possible to identify that the museums, when defining themselves as educational institutions, legitimate the crossing of certain pedagogical discourses in their structure, among which it was highlighted: Piaget's constructivism, the "interdisciplinary movement" and liberating education of Paulo Freire. This dynamic of knowledge organization, in turn, may explain why the public is invited, in educational activities, to bring personal references, and from them, establish relationships with forms of existence of the artist and his creative process.

Cette thèse tente de comprendre la pratique de délivrance et de possession matérielle à l'église Internationale de Nazareth appartenant à la mouvance pentecôtiste charismatique. Elle convoque dans cette entreprise certains discours qui accompagnent ce phénomène. La souffrance constitue l'axe principal du discours de délivrance auprès des fidèles et la motivation de l'éradiquer des travailleurs de Dieu. Cette pratique telle qu'elle est vécue au sein de l'Eglise Internationale de Nazareth, se présente dans l'imaginaire des fidèles et du collège pastoral, comme étant une libération de la souffrance, du malheur et de l'emprise de Satan sur les corps et sur la vie des individus, en leur permettant d'accéder au salut, qui passe par la possession matérielle, à partir des prières adressées à Dieu. Ces faits se déploient dans un contexte caractérisé sur le plan économique et social par les mises en oeuvre des politiques d' « ajustement structurel » et de leurs effets disruptifs sur les sociabilités familiales, de voisinages ou professionnelles, ainsi que sur les rapports à soi, au corps propres, aux corps des choses. L'église apporte des solutions spirituelles et matérielles à des nouvelles façons d'être et de vivre qui, elles, permettent de résoudre des problèmes que rencontrent les fidèles qui se rendent en son sein. La délivrance pour ces fidèles est un moyen de s'en sortir, un support au changement de vie, le moyen de remplacer des modèles qui ne fonctionnent plus, à partir d'un travail sur le corps et sur la vie de l'individu. Cette dernière passe non seulement par un discours sur la sorcellerie, qui s'impose comme une réalité quotidienne de la vie sociale et les rapports humains, y compris en milieu urbain, mais également par la guérison divine miraculeuse et l'exorcisme qui fournissent un schéma explicatif majeur de l?environnement social. L'Eglise Internationale de Nazareth, dans son dispositif évangélique, nourrit l'imaginaire sorcellaire, voire le réactive et l'intègre dans son processus de possession matérielle, tout en prétendant lutter contre lui. Cette lutte et ce contrat « spirituel » contre le Mal, sont des catégories génériques, qui en font une réalité quotidienne et le principe explicatif de la souffrance et du malheur. Et la fréquence des pratiques d'exorcisme et des affaires de sorcellerie au sein de cette institution religieuse charismatique, participe d'une mondialisation de l'imaginaire sorcellaire. / This thesis attempts to understand the practice of deliverance and material possession at the International Church of Nazareth. This church is part of the charismatic Pentecostal movement. The thesis looks at certain discourses linked to this phenomenon. Suffering is the main theme of this discourses of deliverance amongst its followers as well as the eradication of suffering from God's workers. At the International Church of Nazareth, this practice is seen by its followers and the pastoral college as the liberation from suffering, adversity and Satan's hold on the individual's body and life in general. This liberation allows them to attain salvation, which includes material possession, through prayers addressed to God. These events take place in a context characterized by the implementation of "structural adjustment" policies which have a disruptive effect on family, social and professional life, as well as on the individual's connection with himself, his body, other people's bodies as well as objects. The Church provides spiritual and material solutions to these new ways of being and living and which help to resolve problems that the followers encounter. For them, deliverance is a way of coping; it supports them in their changed lives and provides a way of replacing models which don't work anymore. It involves work on the body and in the life of the individual. The latter comprises not only a discourse on witchcraft - which is a reality in daily social life and human relations also in an urban setting - but also a miraculous divine healing session and an exorcism which provide an important explanatory schema of the social environment. The International Church of Nazareth, within its evangelical plan, nourishes this idea of witchcraft, and even revives it and integrates it in its process of material possession, while claiming to fight against it. This struggle and the "spiritual" warfare against Evil are generic categories. They are a daily reality and help to explain suffering and adversity. The frequency of these exorcisms and matters regarding witchcraft within this charismatic religious institution helps with the globalization of the imaginary world of witchcraft

A presente dissertação tem como foco as relações entre público e arte, propostas por instituições culturais. O estudo parte do pressuposto de que, sobretudo a partir da década de 1960, um dispositivo pedagógico da arte é organizado, no sentido de responder a uma urgência histórica do nosso tempo, qual seja: a de criar estratégias de acessibilidade à arte. Nesse contexto, o principal objetivo do trabalho consiste em compreender as formas pelas quais esse dispositivo “ensina-nos” modos de nos relacionarmos com as artes visuais hoje. Como corpus de análise, optou-se por privilegiar um espaço específico de enunciação, a saber: quatro materiais didáticos produzidos por instituições culturais, destinados a professores e alunos, cuja temática é a obra do artista gaúcho Iberê Camargo. Com base no pensamento de Michel Foucault (em especial, os conceitos de saber, poder e subjetividade), buscou-se identificar nesses materiais: a) a maneira como a arte aparece objetivada pelos regimes de saber do dispositivo; b) como esses regimes são fixados e quais relações de poder estão em jogo; c) e, por fim, o modo como os materiais orientam a forma pela qual o sujeito deveria aproximar-se das artes visuais. As análises desenvolvidas possibilitaram apontar que os museus, ao se definirem como instituições educativas, legitimam o atravessamento de certos discursos pedagógicos em sua estrutura, dentre os quais destaquei: o construtivismo piagetiano, o “movimento interdisciplinar” e a educação libertadora de Paulo Freire. Essa dinâmica de organização dos saberes, por sua vez, talvez explique o porquê de o público ser convidado, nas atividades pedagógicas, a trazer referências pessoais e, a partir delas, estabelecer relações com formas de existência do artista e seu processo criativo. / The present dissertation has as focus the relations between the general public and the art, which are proposed by cultural institutions. The study parts from the presupposition that, mainly from the sixties, a pedagogical dispositif of art is organized in order to respond to a historic urgency of our time, namely: to create strategies to the art accessibility. In this context, the main objective of this study is to understand the ways in which this device "teaches us" ways of relating to the visual arts today. As a corpus analysis, it was chosen to focus on a specific space of enunciation: four teaching materials produced by cultural institutions, for teachers and students, whose theme is the gaucho artist's work Iberê Camargo. Based on the thought of Michel Foucault (especially the concepts of knowledge, power and subjectivity), the attempt was to identify in these materials: a) how art appears objectified by the knowledge systems from the dispositif, b) how these systems are fixed and which power relations are at stake, c) and, finally, how the materials guide the way in which the subject should approach the visual arts. By the developed analysis, it was possible to identify that the museums, when defining themselves as educational institutions, legitimate the crossing of certain pedagogical discourses in their structure, among which it was highlighted: Piaget's constructivism, the "interdisciplinary movement" and liberating education of Paulo Freire. This dynamic of knowledge organization, in turn, may explain why the public is invited, in educational activities, to bring personal references, and from them, establish relationships with forms of existence of the artist and his creative process.

Cette thèse propose d’observer l’imaginaire des dispositifs numériques dans les musées d’ethnographie confrontés à la réalisation de dispositifs numériques pour la médiation tels que les tablettes tactiles ou les navigateurs de réalité augmentée. Ce travail s’intéresse au positionnement des professionnels de musée face à la présence croissante d’outils numériques dans l’espace d’exposition, sous-tendue par un discours promotionnel technophile de la part des sphères journalistique et politique qui décrivent ces technologies comme fortement souhaitables. Une enquête ethnographique réalisée dans deux musées soumis à une injonction technologique (le Museon Arlaten d’Arles et le musée McCord de Montréal) interroge les attentes et les imaginaires qu’ont les professionnels du musée de ces dispositifs. À l’aune du concept de trivialité d’Yves Jeanneret, il s’agit de comparer les discours d’escorte portant sur le numérique avec les discours des professionnels de deux musée d’ethnographie, afin de mettre à jour les modes de circulation de ces discours et les imaginaires qui les fondent. Répondre à ce questionnement a nécessité une démarche en trois temps. Il s’est agi dans un premier temps de relever les différents discours d’escorte portant sur les dispositifs numériques au musée et les injonctions qu’ils véhiculent afin de comprendre à quelles prescriptions les professionnels étaient exposés. D’autre part, interroger les professionnels de musée afin de relever leur imaginaire des dispositifs technologiques a permis de connaitre leurs attentes et craintes vis-à-vis de ces supports. Enfin, questionner les enquêtés sur leurs pratiques concrètes lors de la conception effective de ces dispositifs a permis d’observer des processus d’ajustement, prenant la forme de logiques d’opposition, d’adaptation et d’invention. Après avoir comparé le discours des professionnels avec les discours d’escorte médiatiques et politiques, nous avons observé un décalage entre les discours d’escorte sur l’innovation technologique au musée et la façon dont les professionnels de ces institutions culturelles évoquaient ces questions. Le caractère révolutionnaire des discours décrivant les technologies n’est pas repris par les professionnels des musées mais il est fortement nuancé dans un imaginaire raisonné et pertinent des technologies, assorti d’un rapport ambigu à l’innovation qui interroge les enjeux symboliques du progrès technologique dans la médiation muséale. / This thesis observes and explores the imaginary of digital devices when the latter are introduced, in the form of tablets or augmented reality browsers, to support mediation work in ethnography museums. The thesis examines how museum professionals position themselves in relation to the growing presence of digital devices in the exhibition space, which is underpinned by a technophile promotional narrative spun by the media and politicians who present the introduction of these technologies as highly desirable. An ethnographic study in two museums faced with the imposition of such technological agendas – the Museon Arlaten in Arles and the McCord Museum in Montreal – allows for an analysis of the expectations towards and imaginary of these devices by museum professionals. The concept of triviality, as defined by Yves Jeanneret, is used to compare the accompanying discourses on digital technologies with the discourses of professionals in the two ethnography museums, in order to highlight how discourses circulate, as do the imaginaries underpinning them. There were three stages in this study. First, the various accompanying discourses on digital technologies in museums – from both inside and outside of the institutions – and the agendas they carry were identified, so as to understand what was dictated to the professionals. Besides, the museum professionals were interviewed in order to identify what their imaginaries of technological devices were, which allowed for an understanding of their expectations and fears regarding these devices. Finally, asking the interviewees about their concrete practices when effectively devising the devices made it possible to observe processes of adjustment, from opposition to adaptation to invention. The comparison between the professionals’ discourses and the accompanying discourses offered by the media and politicians revealed a discrepancy between the accompanying discourses on technological innovation in museums and the way in which the professionals from the cultural institutions talked about this issue. The narratives describing these technologies as revolutionary were not taken up by museum professionals; rather, they were significantly qualified by reasoned, adequate imaginary of technologies, alongside with an ambivalent perception of innovation, questioning the symbolic dimension of technological changes affecting mediation work in museums.

Le contact frottant peut être à l’origine de vibrations comme le crissement. L’objectif de cette thèse est d’étudier l’influence des paramètres géométriques, matériau et d’historique de frottement sur les occurrences de crissement.Un dispositif expérimental a été développé. Il est basé sur une architecture simplifiée permettant une maîtrise du comportement dynamique. Une instrumentation associée a aussi été mise en place. En parallèle, un modèle éléments finis a été introduit afin d’aider au dimensionnement et de réaliser des études paramétriques. Pour cette étude, deux matériaux ont été utilisés. Le premier, à formulation réduite, a été développé spécifiquement pour cette étude, le second est un matériau commercial.Dans une première étude, l’influence de la géométrie de contact entre le pion et le disque a été réalisée. Elle a montrée des modifications de comportement dynamique en lien avec l’évolution longueur de contact. Le modèle élément fini a montré l’importance de prendre en compte l’aspect non linéaire du matériau qui a été pris en compte à l’aide d’un modèle semi-analytique.Une seconde étude a été consacrée à l’étude de l’influence du matériau, de l’historique de frottement et du chargement thermique sur deux matériaux. Des simulations numériques couplées à des caractérisations du matériau ont permis d’apporter des éléments de compréhension aux comportements dynamiques observés. Enfin, l’étude se termine par une mise en œuvre du matériau commercial sur un dispositif expérimental différent. Une analyse fine de la surface de contact a été réalisée lors d’essais interrompus dans des états bruyants et silencieux. Les résultats montrent peu d’influence de l’évolution de la surface de contact sur les occurrences de crissement. / Sliding contact can cause sound vibrations like squeal for example. The aim of this PHD is to study the influence of geometric parameters, material and friction evolution of squeal occurrences. An experimental set-up has been specially developed. It is based on a simplified architecture which allows a control of the dynamic behavior. Specific instrumentation has also been taken into account. An other hand, a finite element model has been introduced to help to design and permit to conduct to parametric studies. For this study, two kinds of material were used. The first one was specifically developed for this study with a reduced formulation while the second one was a typical commercial material. Firstly, the influence of contact geometry between the pin and the disk was performed. It has shown that the contact length deeply changes the dynamic behavior. The finite element model showed the keyrole of the non-linear aspect of the material. This aspect has been taken into account in a semi- analytical model. Secondly, the study has been devoted to the influence of the material, the evolution of friction and thermal loading. Results showed different behaviors for each material. The commercial material is more sensitive to the friction evolution. Numerical simulations enriched by material characterizations were allowed to bring some understanding to the observed dynamic behavior. Finally, the study concludes with an implementation of the commercial material on a different experimental set-up. A detailed analysis of the contact surface was achieved during tests interrupted in noisy and silent states. The results show little influence of the evolution of the contact area on the occurrence of squeal.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-04-18T18:10:35Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Diego Amaral.pdf: 16907564 bytes, checksum: 9133211971936a97f392eb10066fb1ae (MD5) / Made available in DSpace on 2016-04-18T18:10:35Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Diego Amaral.pdf: 16907564 bytes, checksum: 9133211971936a97f392eb10066fb1ae (MD5) Previous issue date: 2015-11-03 / FACEPE / É objetivo desta dissertação contribuir para uma melhor compreensão sobre a apropriação dos jogos digitais pelo discurso publicitário e propagandístico, e se insere no contexto amplo da discussão acerca das potencialidades discursivas dos videogames. A pretende ainda, propor um protocolo teórico-metodológico com a finalidade de contribuir para o entendimento dos videogames como meios expressivos. Para tanto, optamos por uma investigação que observa os jogos sob o prisma do conceito de dispositivo, aproximando os games de uma discussão acerca das relações de poder ali imbricadas. Assim, este trabalho se apóia no arcabouço do estudo dos jogos (Aarseth, 2003; Juul, 2005; Frasca, 2003), de autores ligados à publicidade, e da noção de dispositivo a partir de Foucault (1977, 1987, 1988), Agambem (2009) e Deleuze (1990), principalmente. / The debate in the present research intends to discuss the application of digital games by the advertising and propagandistic discourse, as part of the broader context of the debate about the discoursive potential of the videogames. This thesis intends to purpose a both theoretical and methodological approach to the videogames as expressive mediums research field. Therefore, it´s been adopted an investigation based on the contributions of authors from different areas of expertise from the game studies theorists (Aarseth, 2003;Juul, 2005; Frasca, 2003) to advertising ideologues and specialists on the foucauldian concept of dispositif (1977, 1987, 1988,), such as Foucault himself, Agambem (2009) and Deleuze (1990), among others.