Orientadores: Laymert Garcia dos Santos, Danièle Cohn / Apresenta-se duas versões da tese: uma versão completa redigida em português e uma versão resumida em francês, conforme exigido pela convenção estabelecida entre as duas Instituições. / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T07:58:10Z (GMT). No. of bitstreams: 1 Freire_Emerson_D.pdf: 39884614 bytes, checksum: 6a0fe6160c93c68d6af43ee61634f80e (MD5) Previous issue date: 2012 / Resumo: Um dos pressupostos básicos da presente tese é considerar que há realmente potencialidades a serem exploradas na relação arte-tecnologia. Todavia, apresentar tal relação em forma de dicotomia, maiormente nas expressões contemporâneas baseadas em informação digital, parece pouco promissor, embora seja prática comum. Valorar uma obra artística pelo maior ou menor uso de dispositivos técnicos em sua composição, por qual software ou hardware foram utilizados, só empobrece a discussão. Outro pressuposto fundamental é de que a sensação como campo problemático é central para que um encontro positivo entre arte-tecnologia ocorra. No entanto, costuma-se considerar que a tradução dos sentidos em dispositivos digitais, criando ambientes interativos ou imersivos centrados apenas na qualidade representativa dos aparatos, são suficientes para abarcar a complexidade da sensação. Uma consequência é a diminuição do conceito de informação das tecnologias atuais à mera troca de sinais, conforme preconizava já em seu início a cibernética. Assim, desenvolve-se apenas a parte empírica da sensação, deixando outra parte importante de fora, qual seja, aquela que o filósofo francês Gilles Deleuze chamou de sentiendum, ou aquilo que permite criar novos afectos e perceptos, devires outros. É na articulação entre sensação e informação que acredita-se residir o potencial para práticas que pretendem responder à altura aos desafios colocados pelo desenvolvimento da tecnociência contemporânea; práticas que não só incluem como extrapolam o mundo da arte / Abstract: One of the basic assumptions of this thesis is to consider that actually there are potentialities to be explored in the relation between art and technology. However, presenting this relationship in the form of dichotomy mainly in contemporary expressions based on digital information, seems unpromising, although it is common practice. Valuing an artistic work at greater or lesser use of technical devices in its composition, by which software or hardware were used, only impoverishes the discussion. Another key assumption is that the sensation as a problematic field is central to promote a positive encounter between art-technology to be possible to occur. However, it is usual to considering that the translation of our senses in digital devices, creating immersive or interactive environments centered only on the representative quality of the devices are sufficient to encompass the complexity of the sensation. One consequence is the reduction of the concept of information of current technologies to mere exchange of signals, as it has already been advocated early by cybernetics theory. Thus, it is only developed the empirical part of the sensation, leaving out other important part, which is the one that the French philosopher Gilles Deleuze called sentiendum, that is, what allows us to create new affections and perceptions, other becomings. It is the link between sensation and information that it is believed to be the potential for practices wishing to adjust to the challenges placed by the development of contemporary technoscience; practices that not only include but go beyond the world of the art / Doutorado / Sociologia / Doutor em Sociologia

Orientador: José Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T17:58:41Z (GMT). No. of bitstreams: 1 Onofrio_RobertoMarcosGomesde_M.pdf: 2102756 bytes, checksum: 7ce68543cc66d4b054b69ae0c909444e (MD5) Previous issue date: 2011 / Resumo: Uma nova modalidade de ensino vem ganhando espaço graças ao desenvolvimento tecnológico e a facilidade de acesso a meios de transmissão e comunicação: o ensino à distância (EAD) usando a Web como interface. Em música essa modalidade ainda gera muita desconfiança e sofre muita rejeição por parte de alunos e professores. O presente trabalho tem como objetivo contribuir com as pesquisas nessa nova modalidade de ensino, propondo um modelo prático para criação de cursos em EAD por meio de uma reflexão entre os aspectos da EAD, aplicados ao ambiente musical. A pesquisa é dividida em quatro partes. A primeira parte discorre sobre a educação à distância, abordagens pedagógicas, formas de interação e tipos de mídias. A segunda, sobre o ensino de música, tratando do ensino do instrumento violão, e todas as outras matérias do aprendizado musical. A terceira, sobre como da educação à distância pode ser trabalhada no ensino musical. E, a quarta, apresenta um projeto de curso de música em EAD implantado na plataforma TELEDUC / Abstract: A new way of teaching is gaining space due to technological development and ease of accessing transmission and communication media, namely distance learning (DL), employing the web as interface. In music this area still gives rise to distrust, suffering from considerable rejection by teachers and students. This work has as goal contributing with research in this new teaching area, proposing a practical model for the creation of new DL courses through reflection on the DL aspects applied to the musical environment. This research is divided in four parts: firstly distance learning, pedagogical approaches, ways of interaction and media types are discussed. In the second part the music teaching regarding classical guitar is discussed along with other aspects of musical education. The third part shows how distance learning may be employed in musical teaching. Finally, a project of a DL musical course implemented in TELEDUC platform is presented / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

O ponto de partida para a construção desta análise é a condição atual de espaço fragmentado favorecida por uma disjunção da camada temporal em sua constituição. A percepção do espaço tem como condição a duração do tempo para que coabitem no presente as camadas do passado e do futuro. A condição de tempo suspenso faz com que as experiências individuais ocorram somente na escala do presente, condição que anula as possibilidades de construção de um espaço social. Da mesma maneira, a velocidade de criação e circulação de imagens, favorecida pela evolução das tecnologias de informação, colocou o corpo num constante estado de onipresença, multiplicando-o. Tal feito, informa ainda uma outra instância - o comprometimento das possibilidades de mapeamento cognitivo conhecidas até então, o que nos reconduz a problematizar o lugar da experiência, e do mesmo modo, da arte. As tecnologias criadoras destes múltiplos corpos são intrínsecas a crise, e por isso permitem a proposição de desvios em seu domínio. Como forma de compreensão desses fenômenos, o presente trabalho discute algumas experiências estéticas da atualidade que buscaram tensionar os limites da relação ESPAÇO-TEMPO-CORPO, num esforço de reconhecimento de suas mediações como realização sensível. (http://construircomcorpo.tumblr.com/) / The starting point for this analysis is the current condition of fragmented space favored by a disjunction of the temporal layer in its constitution. The perception of space has as a condition the duration of time so that the layers of the past and the future cohabit in the present. The condition of time pendent causes the individual experiences to occur only in the present range, condition that revoke the possibilities of building a social space. Likewise, the speed of the creation and circulation of images, favored by the evolution of the information technologies, placed the body in a constant state of omnipresence, multiplying it. Such a feat tells us yet another instance - the commitment of the cognitive mapping possibilities known so far, what leads us to question the place of the experience, and, likewise, of the art. The creative technologies of these multiple bodies are intrinsic to the crisis, so they allow the proposition of deviation in their domain. As a way of understanding these phenomena, this work discuss some current aesthetic experiences that sought to tension the limits of the relation SPACE - TIME - BODY, in an effort to recognize their mediation as sensible realization. (http://construircomcorpo.tumblr.com/)

This dissertation offers a new reading of Jan van der Heyden’s art through an analysis of his depiction of bricks. The minuteness with which the artist rendered bricks is frequently mentioned, their significance however, both in relation to his art and in relation to the early modern Dutch city has largely gone unnoticed. This in-depth study of Van der Heyden’s work and methods not only enriches our understanding of his paintings, but also stresses that his practice as an artist was fundamentally linked to his work as an inventor of technology. Both in his art and inventions Van der Heyden exhibited a profound interest in materials, experimentation, and the urban fabric. Additionally, this study has implications for our interpretation of the Dutch seventeenth-century painted cityscape more broadly. Cityscapes have rarely been examined in light of art theoretical treatises. Van der Heyden’s art, as well as the earliest known commentaries on his paintings however, underscore that such lack of interest is unfounded. Van der Heyden’s bricks, it will appear throughout these chapters, are an embodiment of his broad interests and wide-raging skills. They give expression to both theory and practice, as well to the formation of a Dutch identity. In Van der Heyden’s bricks, therefore, we recognize his interest in and contributions to art, technology, and the city.

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[ES] En esta investigación proponemos abordar diferentes vínculos entre sexualidad e informática, a través de una lectura queer de la historia computacional tras una selección de diferentes episodios o casos. Para ello utilizamos la estrategia de una "genealogía queer" como una apropiación desviada de la noción de "genealogía" tal como la estableció Foucault en su lectura de Nietzsche, es decir, como un tipo de metodología, posicionamiento o punto de vista para acercarse críticamente a un objeto en su desarrollo temporal, contraponiéndose a la forma hegemónica en la que ese objeto ha sido tradicionalmente descrito o pensado. En este caso, el modo hegemónico en que se ha abordado la informática y los algoritmos es el de una supuesta neutralidad matemática en relación con los sistemas de sexo/género y la heteronormatividad. Al tratarse de una genealogía, también se supera la lógica lineal y sistemática propia del análisis histórico. La apertura genealógica tolera estiramientos temporales radicales, lo que permite abarcar episodios o casos siguiendo una temporalidad amplia y discontinua. El primer núcleo temporal y situado realiza una lectura sexodisidente a un tipo singular de tecnología informática indígena: los "quipus" andinos, especialmente en torno a su opacidad informática producto de la violencia colonial. El segundo núcleo temporal de los casos se concentra en la primera mitad del siglo XX, cuando el uso informático de los algoritmos computacionales comienza a ser teorizado y aplicado. En primer lugar, abordamos las teorizaciones del matemático y criptógrafo inglés Alan Turing, quien fuera condenado legalmente por su homosexualidad. En este núcleo también revisamos la primera imagen computacional conocida del proyecto SAGE de la fuerza aérea norteamericana, una chica pin-up programada en esos computadores militares y visible en una fotografía polaroid de fines de la década del 50 del siglo XX. El tercer núcleo corresponde a la década de los 80 del siglo XX hasta la actualidad, en que ese uso de la tecnología algorítmica computacional ha alcanzado un desarrollo que podríamos denominar "hegemónico", desde los prototipos computacionales para la creación de perfiles de usuario hasta proyectos recientes que utilizan redes neuronales artificiales para descifrar la sexualidad de personas en base a fotografías de rostro. También las disputas más recientes sobre el alcance de los algoritmos en relación con la política y el arte queer y feminista. / [CA] En aquesta investigació proposem abordar diferents vincles entre sexualitat i informàtica, mitjançant una lectura queer de la història computacional després d'una selecció de diferents episodis o casos. Per això utilitzem l'estratègia d'una "genealogia queer" com una apropiació desviada de la noció de "genealogia" tal com la va establir Foucault en la lectura de Nietzsche, és a dir, com un tipus de metodologia, posicionament o punt de vista per apropar-se críticament a un objecte en el seu desenvolupament temporal, contraposant-se a la forma hegemònica en què aquest objecte ha estat tradicionalment descrit o pensat. En aquest cas, la manera hegemònica en què s'ha abordat la informàtica i els algoritmes és una suposada neutralitat matemàtica en relació amb els sistemes de sexe/gènere i l'heteronormativitat. Com que es tracta d'una genealogia, també se supera la lògica lineal i sistemàtica pròpia de l'anàlisi històrica. L'obertura genealògica tolera estiraments temporals radicals, cosa que permet abastar episodis o casos seguint una temporalitat àmplia i discontínua. El primer nucli temporal i situat realitza una lectura sexodissident a un tipus singular de tecnologia informàtica indígena: els quipus andins, especialment al voltant de la seva opacitat informàtica producte de la violència colonial. El segon nucli temporal dels casos es concentra a la primera meitat del segle XX, quan l'ús informàtic dels algorismes computacionals comença a ser teoritzat i aplicat. En primer lloc, abordem les teoritzacions del matemàtic i criptògraf anglès Alan Turing, que fos condemnat legalment per la seva homosexualitat. En aquest nucli també revisem la primera imatge computacional coneguda del projecte SAGE de la força aèria nord-americana, una noia pin-up programada en aquests computadors militars i visible en una fotografia polaroid de finals de la dècada del 50 del segle XX. El tercer nucli correspon a la dècada dels 80 del segle XX fins a l'actualitat, en què aquest ús de la tecnologia algorítmica computacional ha aconseguit un desenvolupament que podríem anomenar "hegemònic", des dels prototips computacionals per a la creació de perfils d'usuari fins a projectes recents que utilitzen xarxes neuronals artificials per desxifrar la sexualitat de persones sobre la base de fotografies de rostre. També les disputes més recents sobre l'abast dels algorismes en relació a la política i l'art queer i feminista. / [EN] In this research we propose to address different links between sexuality and computing, through a queer reading of computational history after a selection of different episodes or cases. For this we use the strategy of a "queer genealogy" as a misappropriated appropriation of the notion of "genealogy" as established by Foucault in his reading of Nietzsche, that is, as a type of methodology, positioning or point of view to critically approach to an object in its temporal development, opposing the hegemonic way in which that object has traditionally been described or thought. In this case, the hegemonic way in which informatics and algorithms have been approached is that of a supposed mathematical neutrality in relation to sex/gender systems and heteronormativity. As it is a genealogy, the linear and systematic logic of historical analysis is also overcome. The genealogical opening tolerates radical temporal stretching, which makes it possible to cover episodes or cases following a wide and discontinuous temporality. The first temporal and situated nucleus performs a sex-dissident reading of a unique type of indigenous computer technology: the Andean "quipus", especially around their computer opacity as a result of colonial violence. The second temporal nucleus of the cases is concentrated in the first half of the 20th century, when the computer use of computational algorithms begins to be theorized and applied. In the first place, we address the theories of the English mathematician and cryptographer Alan Turing, who was legally convicted of his homosexuality. In this core we also review the first known computational image of the US Air Force's SAGE project, a pin-up girl programmed in those military computers and visible in a polaroid photograph from the late 1950s. The third nucleus corresponds to the 1980s up to the present, in which the use of computational algorithmic technology has reached a development that we could call "hegemonic", from computational prototypes for the creation of user profiles to projects recent ones that use artificial neural networks to decipher the sexuality of people based on photographs of their faces. Also the most recent disputes about the reach of algorithms in relation to queer and feminist politics and art. / Rivas Sanmartín, F. (2022). Una genealogía queer de los algoritmos computacionales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/187463

This thesis aims to conduct a socio-political discourse analysis (SPDA) of digital articles discussing "The Portrait of Edmond Belamy," created by the Obvious team using AI. The sale of this portrait at Christie's auction for a record $432,500 excited the world. This was the first work sold at auction and created in collaboration with AI. The purpose is to explore AI and its integration into artistic practices and media discourse surrounding the event. The research question this dissertation seeks to explore is: "How AI-generated art, namely the portrait of Edmond de Belamy, is represented in digital media?". The sample consists of 12 articles from the UK and the USA outlets. It is analysed according to Van Dijk’s SPDA concepts as well as Actor-Network Theory (ANT) and Media Dissemination theory. Speaking about key findings, it can be mentioned that political-oriented magazines stress authenticity, while those on art and technology explore broader themes. Power dynamics among stakeholders shape perceptions of AI art, influencing its reception and evaluation. Market recognition at auctions underscores its value, reshaping perceptions of artistic worth. Ethical concerns raise questions on intellectual property, authorship, and code attribution, necessitating regulatory frameworks. Critical analysis provides diverse views on AI-generated artworks, challenging traditional notions of creativity and authenticity. The discourse reflects societal attitudes towards technology, creativity, and cultural production. Understanding AI art's implications aids informed dialogue and decision-making. Future research on practitioners' experiences offers insights into human-AI interactions in creativity, contributing to a nuanced understanding of this interplay.

<p>This dissertation argues that critical practices in the expanded field of art, technology, and space illustrate the potential of twenty-first century media by materializing depths of our experiential dimensions. Scholarship on digital embodiment and materialism in art, media studies, and aesthetics has paid much attention to the central role played by the human body in contemporary media environments. Grounded in these studies, however, this study moves forward to understand the more fundamental quality that grounds and conditions the experience of the human body—namely depth. </p><p>Drawing on diverse disciplines, such as art history, visual studies, media studies, critical theory, phenomenology, and aesthetics, this study provides a reconstruction of the notion of depth to unpack the complex dimensionality of human experiences that are solicited by different critical spatial practices. As a spatial medium that produces the body subject and the world through the process of intertwining, depth points to an environmental affordance that prepares or conditions the ways in which the body processes the information in the world. The dimension of depth is not available to natural human perception. However, incorporating twenty-first century media that are seamlessly embedded in physical environments, critical spatial practices sensibly materialize the virtual dimensions of depth by animating space in a way that is different from the past. </p><p>This dissertation provides comprehensive analyses of these critical spatial practices by artists who create constructed situations that bring the experiential dimensions of depth to the fore. The acknowledgement of depth allows us to understand the spatialities of bodies and their implication in the vaster worldly spatiality. In doing so, this study attends to major contemporary philosophical and aesthetic challenges by reframing the body as the locus of subjectivity that is always interdependent upon broader sociocultural and technological environments.</p> / Dissertation