Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-24T14:11:37Z No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-24T14:14:25Z (GMT) No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Made available in DSpace on 2017-03-24T14:14:25Z (GMT). No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Esta tese tem como objetivo principal demonstrar como e por que as materialidades da comunicação participam dos processos de construção de sentidos das obras de arte, influindo, desse modo, sobre um tipo de experiência sensível que, habitualmente, designamos com os termos atmosfera, clima e ambiência. Dentro dessa perspectiva, analisaremos um conjunto bastante heterogêneo de objetos: a canção “Penny Lane”, dos Beatles; o conto “São Marcos”, de Guimarães Rosa; o conto “A queda da casa de Usher”, de Edgar Allan Poe e suas respectivas versões em áudio, interpretada pelo ator Vincent Price, e para o cinema, realizada pelo diretor tcheco Jan Švankmajer; e, ainda, a adaptação cinematográfica do Fausto de Goethe feita pelo realizador russo Aleksandr Sokurov. Em todas essas obras, buscaremos refletir sobre uma questão que consideramos fundamental para a compreensão de determinados fenômenos do mundo contemporâneo: como a técnica opera, em termos qualitativos e quantitativos, sobre a própria estrutura da experiência estética e cultural. Neste sentido, este trabalho se inscreve no campo dos estudos de intermedialidades. Não obstante, devido à natureza cediça e complexa deste problema, buscaremos uma incessante negociação entre conceitos e metodologias, que, oriundas de diversos campos do saber, nos estimulam a adotar um modo plural, mas produtivo, de se pensar sobre esses fenômenos. Dentro dessa perspectiva, evocaremos a palavra alemã Stimmung como forma de apontar para uma dimensão da experiência estética que, para além do plano hermenêutico, nos toca de modo substancial, modulando os nossos afetos e construindo uma espécie de lógica das sensações. Todo o processo analítico desenvolvido nos quatro primeiros capítulos nos levará, em uma etapa final, à reflexão sobre como determinadas operações técnicas realizadas no domínio da arte parecem inscrever forças que subvertem a nossa percepção habitual e cotidiana das coisas, e, desse modo, não se mostram tão distantes de procedimentos como a magia, o que nos permite, em caráter experimental, pensar na experiência do sujeito no mundo da técnica como uma experiência de reencantamento do mundo. / This dissertation aims at demonstrating how and why communication materiality takes part in the meaning construction processes of works of art, influencing, thus, on a type of sensitive experience we refer to as atmosphere, mood and ambience. Within this perspective, we will analyze a very heterogeneous set of objects: the song "Penny Lane", by the Beatles; the short story “São Marcos”, by Guimarães Rosa; the short story "The Fall of the House of Usher", by Edgar Allan Poe and their audio versions, performed by the actor Vincent Price, and its cinema version, made by the Czech director Jan Švankmajer; and also the film adaptation of Goethe's Faust, made by the Russian director Aleksandr Sokurov. In all these works, we will seek to reflect on one issue that we consider fundamental to the understanding of certain phenomena of the modern world: how the technique works, in qualitative and quantitative terms, on the very structure of aesthetic and cultural experience. Therefore, this work falls within the field of intermediality studies. Nevertheless, due to the slippery and complex nature of this problem, we will seek a ceaseless negotiation between concepts and methodologies, which, coming from the various fields of knowledge, encourage us to adopt a plural, though productive mode, to think about these phenomena.Within this perspective, we will evoke the German word Stimmung as a manner of pointing to a dimension of the aesthetic experience that, beyond the hermeneutical level, touches us substantially by modulating our affections and building a kind of logic of sensations. The entire analytical process, developed in the first four chapters will take us, in a final step, to the reflection on how certain technical operations, performed in the field of art, seem to inscribe forces that subvert our usual and everyday perception of things, and, thereby, are not distant from procedures like magic, which allows us, on a trial basis, to think of the subject's experience in the world of technique as a re-enchantment of the world experience.

In Sein und Zeit Heidegger décrit le caractère émotif de la structure ontologique de l’existence en tant que Befiindlichkeit. Le sentiment de la situation vient de l'expérience ontique du quotidien comme une Stimmung. Celle-ci en tant qu'indication formelle renvoit de expérience ontique vers la constitution ontologique du Dasein. Les deux sont pensés au début dans une relation simple d’accompagnement. Pourtant à partir de 1930 le terme Befindlichkeit disparaît, et à sa place nous trouverons la seule disposition émotive ontique. Ce travail commence par demander les raisons de cette disparition. Le motif le plus important c’est que Heidegger s’est aperçu de la nécessité de soumettre même les phénomènes émotifs dont il s’agit au renversement du tournant, la Kehre. Dans cette nouvelle démarche de la pensée c’est le caractère d’événement des dispositions émotives qui doit être dégager. Dans le processus visé à le saisir, on découvre le pouvoir des dispositions de modifier à la racine la pensée, permettant à celle-ci de se déployer autrement que la métaphysique. Il s’agit de dépasser la représentation en tant que modalité fondamentale de la pensée pour découvrir l’essence des images dans le langage poétique. cela se montre comme unique possibilité de garder l’être dans l’étant. / In Time and being Heidegger describes the emotional character of the ontological structure of existence as a Befindlichkeit. The state of mind occurs on the ontical experience of everyday as a Stimmung, which in its phenomenological function as formal indication defers to the ontological structure of Dasein. The relation between them seems to be that of simple accompaniment. Within the turn this relation undergoes a reversal, so that the term Befindlichkeit itself disappears to leave only the Stimmung. While in 1926 the onticity of Stimmung was considered inauthentic, within the Kehre, however, this ontical layer always emotionally disposed, reveals the access to the original in the Daseins facticity. The ontic-ontological structure unfolds the ambiguity of truths as duplicity of the emotional openness of Dasein, so that it would have definitely been perceived in the early 1930’s as ontical Stimmung. In this way Heidegger strengthens its function, so far as to make it indispensable for the preparation of the other beginning of thinking. If the representational thinking depends on the Grundstimmung of the first beginning, as well as on the fact that metaphysics do not question ask about the truth of being, but rather pursue the question of the entity until the calculating thought of the technological epoch, then the thought of the other beginning must not only forbid the representation, but also, at the same time, rediscover the disclosing essence of the image. Once poetry is understood as original language, poetry’s use of image offers the possibility to bring the appropriative event to the language without objectifying it. The ability to safeguard the being into a word that does not represent it but just states it, indicating its happening, depends on the correct understanding of the event’s character of Stimmungen.

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In der vorliegenden Arbeit wurden die Auswirkungen des Musikhörens nach der einmaligen Inhalation eines Gasgemisches aus 35 % CO2 und 65 % O2 auf Emotionen, die aktuelle Stimmung sowie auf die Stress- und Immunparameter Noradrenalin, Leptin, Somatostatin und TNF-α untersucht. Außerdem wurden die Stress- und Immunparameter betreffs ihres Zusammenhangs mit den Emotionen und Stimmungen sowie ihrer Geschlechter- und Tageszeiteneffekte näher betrachtet. In die Studie wurden 143 gesunde Probanden eingeschlossen, die randomisiert jeweils einer Experimentalgruppe und einer Kontrollgruppe zugeteilt wurden. Die Experimentalgruppe hörte nach der Inhalation des Gasgemisches fröhliche belebende Instrumentalmusik, während die Versuchspersonen der Kontrollgruppe nach Zugabe des Gasgemisches neutrale Zwölftonfolgen dargeboten bekamen. Während des Hörens wurden die Emotionen an Hand standardisierter Fragebögen bewertet. Die aktuelle Stimmung wurde jeweils vor und nach dem Experiment erhoben. Zu 6 definierten Zeitpunkten wurden den Probanden Blutproben entnommen, die auf die Stress- und Immunparameter untersucht wurden. Dabei zeigte sich die Inhalation des Gasgemisches aus 35 % CO2 und 65 % O2 als wirkungsvoller Stressor, der die Schlüsselmechanismen der humanen Stressantwort zu aktivieren imstande war. Das Hören der Instrumentalmusik erbrachte signifikant positive Effekte auf die Einschätzung der Emotionen und aktuellen Stimmung verglichen mit dem Hören von Zwölftonfolgen. In den Konzentrationen der Stress- und Immunparameter zeigten sich im Vergleich von Instrumentalmusik mit Zwölftonfolgen jedoch keine eindeutigen Unterschiede. Diese Arbeit liefert damit einen Beleg zur positiven Wirkung von Musik und unterstützt die Bestrebungen, vergleichbare musikalische Stimuli im klinischen Alltag therapeutisch einzusetzen.

Im Rahmen des 16. Jahreskongresses der GMTH hat ein Workshop stattgefunden, der sich zum Ziel gesetzt hat, hörend die Sensibilität zu wecken für den Klang einer Musik in einer bestimmten Tonart bei einer jeweils historischen Stimmung. Aufgrund der vom 16. bis ins 19. Jahrhundert benutzten ungleichstufigen Temperaturen ›funktionieren‹ nämlich viele Stücke nicht in jeder beliebigen Tonart. Hieraus ergeben sich wichtige Fragen für die Interpretation, für die Komposition und Improvisation, für die Werkanalyse und schließlich für den wissenschaftlichen Diskurs. / During the 16th Annual Conference of the GMTH a workshop was held that aimed to increase the awareness for listening to the sound of a composition in a specific key (within an appropriate historical tuning). Because of the unequal temperaments used from the 16th to the 19th century, many pieces don’t ›work‹ in every key. From this, important questions arise regarding performance, composition, improvisation, analysis, and, finally, scientific discourse.

Subjects participating in magnetic resonance imaging (MRI) examinations regularly report anxiety and stress related reactions. This may result in impaired data quality and premature termination of scans. Moreover, cognitive functions and neural substrates can be altered by stress. While prior studies investigated pre–post scan differences in stress reactions only, the present study provides an in-depth analysis of mood changes and hormonal fluctuations during the time course of a typical fMRI session. Thirty-nine subjects participated in the study. Subjective mood, salivary alpha-amylase (sAA) and cortisol were assessed at six time points during the lab visit. Associations between hormonal data and neural correlates of a visual detection task were observed using a region of interest approach applied to the thalamic region. Mood and hormonal levels changed significantly during the experiment. Subjects were most nervous immediately after entering the scanner. SAA was significantly elevated after MRI preparation. A subgroup of n = 5 (12.8%) subjects showed pronounced cortisol responses exceeding 2.5 nmol/l. Preliminary fMRI data revealed an association between sAA levels and left thalamic activity during the first half of the experiment that disappeared during the second half. No significant correlation between cortisol and thalamic activity was observed. Results indicate that an fMRI experiment may elicit subjective and neuroendocrine stress reactions that can influence functional activation patterns.

Univ., Diss.--Bern.