Dans l’ère technoscientifique la valeur du corps est directement liée à sa production rationnelle produit dans les laboratoires scientifiques. Notre investigation empirique cherche à découvrir la relation entre les expériences de laboratoire et ce que nous délimitons comme body hacktivism, body hacking ou piratage du corps, qui sont basées sur une perspective ludique et exploratoire, réalisées par des amateurs scientifiquement inclinées, dont le but est d’amplifier les limites sensorielles de l’homme. Les body hackers sont dans le registre de la production de soi dans un individualisme radical qui a, en tant que unité d’analyse principal, l’individualisation croissante et la propriété de son corps comme des mesures fondamentales. Ensuite, la symbiose de l’individu avec l’environnement, grâce aux nouvelles technologies, a crée une perception unique dans laquelle un élément inorganique devient le médiateur de l’expérience de soi et le rapport à l’autre. Finalement, ils sont unis d’une manière telle que l’individu ne fait qu’un avec elle. / In the present technoscientific era, body value is directly related to its rational production in scientific laboratories. Our empirical investigatoin seeks to discover the relationships between laboratory experiments and what we identify as body hacktivism, body hacking, which stand for a playful and exploratory extreme body modification perspective, performed by scientifically-inclined amateurs whose purpose consists of amplifying a person’s sensory limits. Our principal argument is that body hackers are on record for self-production in a radical individualism that has, as a privileged analytical unit, the growing individualization and the self-ownership of the body as its fundamental measures. The body hacking draws our attention to the understanding of a scientific reality: if one day nature granted man a body, to have currently, it is fundamental to overcoming this biological event, endlessly seeking its improvement, until the day that man will attain the chimera of perfection and immortality. / O corpo humano está agora enredado numa trama muito particular, característica de nossa era tecnocientífica: seu valor e seu destino estão submetidos aos processos racionais e às novas técnicas que são continuamente desenvolvidas nos laboratórios. A partir de uma visão algo utópica, muito além de uma simples materialidade orgânica, as fronteiras da corporalidade estão assim sendo radicalmente questionadas e transformadas. E, neste passo, os conhecimentos científicos e sua mística transbordam seus campos estritos de aplicação, para alcançar e mobilizar o desejo e a vontade de indivíduos e do público em geral. Em nosso trabalho, buscamos investigar a relação entre as experiências de laboratório e aquilo que identificamos como o panorama underground de tecnologização do corpo. Procuramos assim circunscrever certas modificações corporais extremas, definidas como body hacktivism, body hacking ou pirataria do corpo, que se fundam numa perspectiva lúdica e exploratória, realizadas por amadores com o propósito de ampliar os limites sensoriais do homem. Tal reapropriação individual das tecnologias se converte, então, em inovações e em práticas inusitadas, por exemplo: implantes de microchips RFID, de magnetos, de vibradores genitais ou placas de titânio para substituir a pele, e mesmo próteses robóticas feitas com peças de Lego. A pesquisa de campo foi empreendida entre 2011 e 2013, em contato com vários praticantes selecionados na Europa, nos Estados Unidos e no Brasil. A metodologia qualitativa privilegiou a aplicação de entrevistas semiestruturadas e visitas a lojas de tatuagem/piercing, hotéis, eventos e seminários. O objetivo desta tese é, portanto, compreender qual corpo os body hackers constroem para si e projetam para os outros, explorando assim suas concepções acerca do sujeito humano. O argumento principal é de que os body hackers, por suas palavras e suas práticas, reverberam a mesma ontologia radical do individualismo moderno, ao tomar o indivíduo como a unidade social básica e a apropriação de seu próprio corpo como a relação fundamental. A simbiose do corpo com artefatos variados, que as novas tecnologias possibilitam, faculta ao indivíduo percepções exclusivas, nas quais os elementos inorgânicos se tornam não apenas mediadores da experiência pessoal, mas uma extensão ou parte articulada de si mesmo. Em suma, a tecnologia inserida no corpo além de modificá-lo, também transforma a forma de perceber, de estar e de ser-no-mundo. A pirataria do corpo, enfim, chama a atenção para uma realidade insofismável: se um dia a natureza concedeu aos seres humanos um corpo, para tê-lo, atualmente, é preciso superar o simples evento biológico e buscar incansavelmente o seu aperfeiçoamento, a quimera extraordinária de uma perfeição e de uma imortalidade vindoura.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-03T11:17:01Z No. of bitstreams: 1 barbaranascimentoduarte.pdf: 2112433 bytes, checksum: fce94787e42900386c7986b66a5b6644 (MD5) / Made available in DSpace on 2015-12-03T11:17:01Z (GMT). No. of bitstreams: 1 barbaranascimentoduarte.pdf: 2112433 bytes, checksum: fce94787e42900386c7986b66a5b6644 (MD5) Previous issue date: 2015-03-06 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O corpo humano está agora enredado numa trama muito particular, característica de nossa era tecnocientífica: seu valor e seu destino estão submetidos aos processos racionais e às novas técnicas que são continuamente desenvolvidas nos laboratórios. A partir de uma visão algo utópica, muito além de uma simples materialidade orgânica, as fronteiras da corporalidade estão assim sendo radicalmente questionadas e transformadas. E, neste passo, os conhecimentos científicos e sua mística transbordam seus campos estritos de aplicação, para alcançar e mobilizar o desejo e a vontade de indivíduos e do público em geral. Em nosso trabalho, buscamos investigar a relação entre as experiências de laboratório e aquilo que identificamos como o panorama underground de tecnologização do corpo. Procuramos assim circunscrever certas modificações corporais extremas, definidas como body hacktivism, body hacking ou pirataria do corpo, que se fundam numa perspectiva lúdica e exploratória, realizadas por amadores com o propósito de ampliar os limites sensoriais do homem. Tal reapropriação individual das tecnologias se converte, então, em inovações e em práticas inusitadas, por exemplo: implantes de microchips RFID, de magnetos, de vibradores genitais ou placas de titânio para substituir a pele, e mesmo próteses robóticas feitas com peças de Lego. A pesquisa de campo foi empreendida entre 2011 e 2013, em contato com vários praticantes selecionados na Europa, nos Estados Unidos e no Brasil. A metodologia qualitativa privilegiou a aplicação de entrevistas semiestruturadas e visitas a lojas de tatuagem/piercing, hotéis, eventos e seminários. O objetivo desta tese é, portanto, compreender qual corpo os body hackers constroem para si e projetam para os outros, explorando assim suas concepções acerca do sujeito humano. O argumento principal é de que os body hackers, por suas palavras e suas práticas, reverberam a mesma ontologia radical do individualismo moderno, ao tomar o indivíduo como a unidade social básica e a apropriação de seu próprio corpo como a relação fundamental. A simbiose do corpo com artefatos variados, que as novas tecnologias possibilitam, faculta ao indivíduo percepções exclusivas, nas quais os elementos inorgânicos se tornam não apenas mediadores da experiência pessoal, mas uma extensão ou parte articulada de si mesmo. Em suma, a tecnologia inserida no corpo além de modificá-lo, também transforma a forma de perceber, de estar e de ser-no-mundo. A pirataria do corpo, enfim, chama a atenção para uma realidade insofismável: se um dia a natureza concedeu aos seres humanos um corpo, para tê-lo, atualmente, é preciso superar o simples evento biológico e buscar incansavelmente o seu aperfeiçoamento, a quimera extraordinária de uma perfeição e de uma imortalidade vindoura. / In the present technoscientific era, the body is involved in a particular scheme: its value is directly related to its rational and technical production in scientific laboratories, where a utopian vision of corporeality has been delineated. In these, its boundaries are radically challenged and transformed, moving beyond organic materiality. Nevertheless, scientific development goes beyond its pre-set field of action, and its resulting knowledge touches society in a singular way. In our investigation, we seek to discover the relationships between laboratory experiments and what we identify as the underground scene of body technologization. Within it, we circumscribe extreme body modifications, defined as body hacktivism and body hacking, which stand for a playful and exploratory perspective, performed by scientifically-inclined amateurs whose purpose consists of amplifying a person’s sensory limits. This individual reappropriation of technologies turns out in innovations, including RFID microchip and magnetic implants, genital vibrators, engineering of titanium skin interfaces, and even robotic prostheses made with Legos. Through an empirical study undertaken from 2011 through 2013, we conducted participant observations with a number of privileged proponents of these practices in Europe, in the United States and in Brazil. Our methodology was qualitative, notably through the application of semi-directive interviews. The research focused on tattoo/piercing shops, hotels, body modification events and seminars. Our problem is to understand which body the body hackers build and design, and to view the conception of the human subject. Our principal argument is that body hackers are on record for self-production in a radical individualism that has, as a privileged analytical unit, the individual (and its growing individualization) and the self-ownership of the body as its fundamental measures. Then, the symbiosis of the individual with the environment, through new technologies, creates a distinctive perception in which an inorganic element becomes the mediator of the experience of the self and of the other. Lastly, they come together in such a way that the individual becomes a unity with it. In short, these embedded technologies not only modify the body, but also change the way of perceiving, living, and being in the world. The body hacking draws our attention to the understanding of a scientific reality: if one day nature granted man a body, to have currently, it is fundamental to overcoming this biological event, endlessly seeking its improvement, until the day that man will attain the chimera of perfection and immortality.

La thèse présente une analyse du transhumanisme et de ses enjeux, en partant de l’examen de sa philosophie, l’extropianisme, ainsi que de son projet. La mission transhumaniste est d’élever la condition humaine en offrant à l’espèce humaine le pouvoir de vivre indéfiniment grâce aux progrès des technosciences, mais aussi de s’améliorer cognitivement pour devenir plus intelligente et plus heureuse. L’objectif de la thèse est de mettre au jour les fondements philosophiques qui constituent le socle de la rhétorique transhumaniste afin de comprendre son efficience et pour analyser les enjeux éthiques qui en découlent concernant notre rapport à la mort, à l'existence et au temps. Il s’agira également de revenir sur la façon dont les fondateurs du transhumanisme se sont positionnés au sujet de ces enjeux pour insister sur l’importance d’une connaissance approfondie des principes et des valeurs du transhumanisme et de sa complexité pour proposer une critique de son projet. / The thesis presents an analysis of transhumanism and its issues, starting from an examination of its philosophy, extropianism, and its project. The transhumanist mission is to elevate the human condition by giving the human species the power to live indefinitely thanks to the progress of technoscience, but also to improve cognitively to become smarter and happier. The aim of the thesis is to uncover the philosophical foundations of transhumanist rhetoric to understand its efficiency and to analyse the ethical issues that arise from it in relation to our relationship with death, existence and time. It will also be necessary to consider the way the founders of transhumanism have positioned themselves on these issues to insist on the importance of a thorough knowledge of the principles and values of transhumanism and its complexity to propose a critique of its project.

Cette recherche propose une réflexion sur la pertinence d’un « art –action » actuel, à partir d’une analyse d’actes pour l’art, caractérisés comme « hors limites », à travers une utilisation de la présence physique comme essence et support de l’art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l’Actionnisme Viennois, ou l’Art Corporel.Nous étudions ici, aidés d’artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d’actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s’il y a lieu, aujourd’hui, de parler encore d’actes artistiques politiques, militants, après l’âge d’or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement « héros, sujet, matériau, objet, victime, écran » de cet art-action transgressif. Notre volonté est de saisir l’ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l’authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d’identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l’histoire de « l’art pour l’art », concept porté par la modernité.Ce « hacking » du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l’ultime recours, sauvé par ces modifications douloureuses et radicales ? / This research proposes a reflection on the relevance of a "art -action" current, based on an analysis of the acts for the art, characterized as "off limits", through a use of the physical presence, such as origin and support of the visual art, begun in the 1920s by Marcel Duchamp, and declined throughout the twentieth century with artistic groups as Dada, the Happening, the Viennese Actionnism, or the Body Art.We study here, through artists performers selected around the singular practices of Albrecht Becker, Ron Athey and Lukas Zpira, the possible limits of artistic acts, staging in extreme way, through performances considered shocking, aggressive, including piercings, tattoos, daring an art of faintness sometimes, being played of conventions, the taboos and the social-cultural codes in place. Thus we see whether it is necessary, today, to still speak about artistic acts political, militant, after the golden age of the Seventies, through a choice among many new esthetics of the human body, successively “hero, subject, material, object, victim, screen” of this transgressive acting-art. Our will is to understand the ambiguity contained in the representation, and all the shown symbolic system, compared to a first intention which is disintegration both thematic and formal in the plastic arts. The discussion is thus about the authenticity and the survival of these artistic extremists and transgressive practices, treating the concept of identity or even the genetics, the discussion being also about their avant-gardist position in the history of “the art for art” brought by the modernity, position to be reconsidered in a society called post-modern.Do this “body- hacking” bring us then towards a future virtual human being, a single existence in the digital universes? Is the body lost or, paradoxically the ultimate recourse, saved by these painful and radical modifications?

Cette recherche propose une réflexion sur la pertinence d'un " art -action " actuel, à partir d'une analyse d'actes pour l'art, caractérisés comme " hors limites ", à travers une utilisation de la présence physique comme essence et support de l'art plastique, entreprise dès les années 1920 par Marcel Duchamp, et déclinée durant tout le vingtième siècle avec des mouvements artistiques tels Dada, le Happening, l'Actionnisme Viennois, ou l'Art Corporel.Nous étudions ici, aidés d'artistes performers choisis autour de quelques pratiques singulières de Albrecht Becker, Ron Athey et Lukas Zpira, les possibles limites d'actes artistiques, mettant en scène de façon extrême, à travers des performances jugées choquantes, agressives, incluant piercings, tatouages, osant parfois un art du malaise, se jouant des conventions, des tabous et des codes sociaux et culturels en place. Ainsi nous voyons s'il y a lieu, aujourd'hui, de parler encore d'actes artistiques politiques, militants, après l'âge d'or des années soixante-dix, parmi des nouvelles esthétiques du corps humain, celui-ci successivement " héros, sujet, matériau, objet, victime, écran " de cet art-action transgressif. Notre volonté est de saisir l'ambiguïté contenue dans la représentation, et toute la symbolique donnée à voir, par rapport à une première intention qui est une certaine déstructuration à la fois thématique et formelle dans les arts plastiques. La discussion est donc engagée sur l'authenticité et la pérennité de ces pratiques artistiques extrémistes, transgressives, manipulant le concept d'identité ou même la génétique, discussion aussi sur leur statut avant-gardiste dans l'histoire de " l'art pour l'art ", concept porté par la modernité.Ce " hacking " du corps nous amène-t-il-alors vers un devenir post-humain virtuel, une seule existence dans les univers numériques ? Le corps est-il en perdition ou, paradoxalement l'ultime recours, sauvé par ces modifications douloureuses et radicales ?

This work explores the fusion of bio-technology and sports footwear design and envisions a future where people enhance their physiology to meet their specific needs. Through tissue engineering, the wearer’s own biomaterials are utilized to optimize performance and customization. It seeks to redefine the enhancement of long-distance running by creating a physical bond between footwear and feet. Based on both design fiction and industrial design, the project speculates on the impact of biotechnological advances. It reflects a curiosity-driven exploration of the human body and its potential transformation. The thesis concludes with reflections on such innovations in footwear design and the role of design fiction in imagining future possibilities. It forms a contribution to Design Ecologies and illustrates the intersection of design, ecology, biology, and fiction, in addressing contemporary challenges.