Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-17T13:06:50Z No. of bitstreams: 2 Dissertação - Narrira Lemos de Souza - 2015.pdf: 1420242 bytes, checksum: e275e9c3570827e62eaa56f0d36e27e9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-17T13:18:26Z (GMT) No. of bitstreams: 2 Dissertação - Narrira Lemos de Souza - 2015.pdf: 1420242 bytes, checksum: e275e9c3570827e62eaa56f0d36e27e9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-17T13:18:26Z (GMT). No. of bitstreams: 2 Dissertação - Narrira Lemos de Souza - 2015.pdf: 1420242 bytes, checksum: e275e9c3570827e62eaa56f0d36e27e9 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-07 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Donna Haraway’s political myth is the theme of this research, the investigation implies to understand this character as agent of feminist and social transformation trough three possible images. Firstly, we intend to know, in our society, who is cyborg, knowing that we are talking about a capitalist and western society. There is a historical retrospective about cybernetics, computation and medicine; there is also basics conceptions to the better understanding of the research. We conclude that the cyborg is not only a myth, there are cyborgs looking for a formal identity in some governments. After that, we research the cyborg in the imagination of Science Fiction in some movies and televisions sitcoms, we want to know, after all, if these cyborgs are fiction or reality and if there is a border between this categories. Finally, we look into the cyborg of feminist theory, where the political myth is the meanly agent of Science transformation. We conclude that new characters are need to re-build a Science in which the Man is not the center of the history. / O mito político do ciborgue de Donna Haraway é tema desta pesquisa. A investigação trata de compreender este personagem como um agente de transformação social feminista através de três possíveis imagens. Primeiramente, procuramos entender quais são os ciborgues de nossa sociedade ocidental capitalista. Há um resgate histórico da cibernética, computação e medicina; há, também, conceituações básicas para a continuidade da pesquisa. Chega-se à conclusão de que o ciborgue não é apenas um mito, há ciborgues reivindicando uma identidade reconhecida pelos seus governos. Posteriormente, investigamos o ciborgue na imaginação do cinema de ficção científica, queremos saber, afinal, se estes ciborgues são ficção ou são realidade e se há uma fronteira entre essas duas categorias. Finalmente, debruçamo-nos sobre o ciborgue da teoria feminista crítica da ciência, em que o mito político é agente principal das transformações da ciência. A conclusão a que chegamos é que novos personagens são necessários para que se possa construir uma ciência em que o Homem não seja o centro da história.

Made available in DSpace on 2016-04-29T14:23:34Z (GMT). No. of bitstreams: 1 Alberto Labuto Junior.pdf: 3592285 bytes, checksum: 33ef4e498c05b35168103cfadd093977 (MD5) Previous issue date: 2014-03-14 / In the age of digital communication, video has increasing importance, both as a technological tool, such as audiovisual language. From this context, we analyzed the evolutionary process of visual technologies leading to the emergence and popularization of video technology. We begin with an analysis on the physiological aspects of vision. The mechanics of vision, with light as optical stimulator through which we see the world. The goal is to understand the organic process that originates the phenomena of color and form in motion into the mind, as a starting point for a systemic approach to vision, in order to understand the evolutionary path of the technology, wich starts from the study of human vision to vision design of the cyborg. Then, a view of the historical evolution of visual languages, from the visual emergence of first symbols to advent of video, seeking the understanding of the process that led to an evolution in visual communication towards the collectivity of information, with peak in television and video expanded in new media. Finally, an overview of the vision design of the cyborg, in a context where, as a result of a constant evolution, video technology becomes sufficiently intimate and reliable while we adapt to its full-time use, mounting or even implementing electronic devices in our body to expand the vision / Na era da comunicacão digital, o video tem crescente importância, tanto como ferramenta tecnologica, quanto como linguagem audiovisual. A partir deste contexto, analisamos o processo evolutivo das tecnologias visuais levando ao surgimento e popularizacão da tecnologia do video. Iniciamos com uma análise relativa aos aspectos fisiologicos da visão. A mecânica da visão, tendo a luz como estimulo otico através do qual enxergamos o mundo. O objetivo é compreender o processo orgânico que dá origem aos fenômenos de cor e forma em movimento dentro da mente, como ponto de partida para uma abordagem sistemica da visão, a fim de entender o percurso evolutivo da tecnologia que parte do estudo da visão humana para o design da visão do ciborgue. Em seguida, um ponto de vista sobre a evolucão historica das linguagens visuais, do surgimento dos primeiros simbolos visuais ao advento do video, buscando o entendimento do processo que levou a uma evolucão na comunicacão visual em direcão a coletividade da informacão, tendo como auge a televisão e o video expandido nas chamadas novas midias. Por fim, um panorama sobre o design da visão do ciborgue, num contexto onde, por consequencia de uma constante evolucão, a tecnologia do video se torna suficientemente intima e confiável, ao passo que nos adaptamos ao seu uso em tempo integral, montando ou mesmo implantando dispositivos eletrônicos de expansão da visão em nosso corpo

<p>Nanotechnology plays an important role in today’s society because it allows convergence to the nanoscale, that is to say to the level of atoms and molecules, as part of a miniaturization trend; and also because it is being used for improving human performance or enhancement. Nanotechnology will have a tremendous impact thanks to its potentialities, and the human desire for enhancement - and for some even the desire to reach a posthuman stage. Since nanotechnology-based human applications – cyborgs and implants – might represent a threat to what defines us as humans, namely our human nature, a different approach on the distinction between therapy and enhancement is needed in order to handle those applications in a wiser and more responsible way. This thesis will work on such approach.</p>

Nanotechnology plays an important role in today’s society because it allows convergence to the nanoscale, that is to say to the level of atoms and molecules, as part of a miniaturization trend; and also because it is being used for improving human performance or enhancement. Nanotechnology will have a tremendous impact thanks to its potentialities, and the human desire for enhancement - and for some even the desire to reach a posthuman stage. Since nanotechnology-based human applications – cyborgs and implants – might represent a threat to what defines us as humans, namely our human nature, a different approach on the distinction between therapy and enhancement is needed in order to handle those applications in a wiser and more responsible way. This thesis will work on such approach.

This thesis seeks to demonstrate that although Laurie Anderson’s performance works are technologically driven and often involve gender play, seemingly transgressing the gender binary, ultimately she reinscribes traditional gender norms. On the one hand, Anderson has been a pioneer in the use of electronic technology, which is significant considering she is a woman and electronics is a male-dominated arena; on the other hand, her ambiguously- gendered cyborg persona, which does often raise awareness about gender stereotypes, ultimately reinscribes traditional gender norms. Although I consider these issues as they pertain specifically to Anderson, the significance of this project lies in the broader picture. Are there limits to gender performativity? Is it possible to break traditional gender norms? Must gender norms constantly reinscribe themselves regardless of new technology? As gender norms are deeply rooted in society, they are difficult to escape, as Anderson’s work demonstrates.

The aim for this master thesis is to create an understanding of the intersubjective processes of how individuals are experimenting with their identities in social media and the consequences for the identity and embodiment. The thesis is completed with the help of discourse analysis and a starting point in four complementary theories. Central to the implementation of the analysis is the concept of diffraction. Therefore the thesis is, which is reflected in the choice of theoretical approaches and methods, critical to many aspects of classical philosophy of science and method. The empirical material is based on interviews. During the analysis the theory is applied to empirical data received from the interviews, but the empirical data will also be used as inspiration for examining my chosen theories. The analysis covers several topics. First I discuss how a web-identity is constructed and how this can be considered as a process of negotiation with other users on the same website. Furthermore I discuss how my informants negotiate about boundaries conserning sexuality and corporeality, but that the subjective boundaries shift in the encounter between different discursive claim to legitimate expression of body and sexuality. In the final section, before the final discussion, I discuss the body's impacts on communication on a website. During the final discussion several questions are being raised. Centrally, however, is how the essays selected theories help to demonstrate how the negotiation of boundaries in social media is complex, and that experimentation with the identity of a website partly dependent on society's other discourses on gender, body and desires. But it is also discussed how discourses of gender, body and desire is shifted inside the selected websites, and that these sites creates new opportunities for identification and self-knowledge.

This thesis analyzes the analogy between woman and nature and ecofeminist theory that emphasizes the parallelism between man&#039 / s exploitation of woman and nature. It aims to make an ecofeminist analysis of three novels: Surfacing by Margaret Atwood, The Cleft by Doris Lessing and The Stone Gods by Jeanette Winterson. First, this thesis introduces the history and main principles of ecofeminist theory. These novels by different women writers investigate the embodiment of these main principles in three novels despite the fact that the same aspects of the theory can sometimes be interpreted differently in these novels. In analyzing these three novels as applications and/or the criticisms of ecofeminist theory, it was found that two theories, social ecology and Cyborg Theory, are also necessary. The later novels use ideas from these related theories alongside ecofeminist ideas. In order to undertake this analysis in each novel, this thesis also studies the assignment of determined social roles to man and woman and the duality resulting from this inequality. Next, it investigates the colonization of both nature and woman&#039 / s body by man&amp / #8217 / s intervention, that leads to the alienation of woman from herself and society. Furthermore, this thesis shows the exploitation process of females and nature by males who consider both as objects.

Pleasure experienced in an unpleasant film genre, like horror, has prompted numerous discussions in film studies. Noted scholars like Carol J. Clover and Noël Carroll have rationalized spectatorial enjoyment of a genre that capitalizes on human anxieties and complicates cultural categories. Clover admits that horror initially satisfies sadistic tendencies in young male viewers but then pushes them to cross gender lines and identify with the strong female heroine who defeats the film's threat. Carroll provides a basic explanation, citing spectators' cognitive curiosity as the source of pleasure. Both scholars are right to consider emotional, psychological, and cognitive experiences felt by viewers, but the main objective of this thesis moves beyond one particular demographic and considers how spectatorial experiences can differ radically but still offer pleasure. This work involves a methodology, Theory of Mind (ToM), that addresses the basic yet complex issues that inform spectatorial interactions with the horror film. Clover, Carroll, and others agree that viewers realize violations to cultural conventions occur in horror. Therefore, these anticipations, anxieties, curiosities, and tendencies of the spectator exist before and after a film rather than taking place within the two hours of watching its narrative. ToM is a cognitive ability that allows individuals to predict and make sense of others' behavior and underlying mental states and is a hardwired faculty that undergoes constant conditioning to ensure individuals can better interact with their environments, whether real or fictional. With horror, expectations are challenged, since spectators are forced to renegotiate cultural knowledge, as horror does not adhere to convention. Horror exercises ToM intensely, but as this project proves, it is a pleasurable workout. Ridley Scott's 1979 sci-fi horror film, Alien, is this work's case study, because it falls into the horror genre and challenges a few culturally-imposed binaries that are entangled in the film, including human/android and masculine/feminine. As this thesis shows, these entanglements demonstrate how ToM is both biological/cultural and is not categorized as a programmed mechanism in humans. With these enmeshed binaries, this study argues that Alien involves posthumanism, because it rejects traditional categories of identification and information and embodies fluidity. This works for ToM, since it is an ever-developing and conditioned process of observing and anticipating behavior. ToM is also posthuman, because information does not remain stagnant but is challenged or modified constantly in pleasurable ways. By witnessing the contradictions and complications of cultural categories through Alien's characters, spectators can learn to observe the flux of identity outside the film's narrative, too. Because this learning process is in constant motion, this thesis points out how horror's stimulation and development of it are enjoyable.

This dissertation is a case study of the public performances of Gregory Bateson at The Esalen Institute. The case study is a reconsideration of the work of Gregory Bateson from the perspective of performance studies. The author brings together performativity, cybernetics, and the sacred to argue that Gregory Bateson, in his public performances, was striving for grace in encounters with others. The author has conducted archival research into Bateson’s presentations and has spoken with several close to Bateson to get a sense of how his process of public presentation paralleled his ideas—a process of continually working through ideas in conversation with others. In his dissertation the author tries to present the work in a form fitting with Bateson's own process.

In the context of public debates about the ‘sexualization’ of ‘tween’ (preteen) girls and their use of social network sites (SNSs), this study explores girls’ online practices, experiences and reflections of their engagement with Facebook. This project is part of a growing body of research that prioritizes talk ‘with’ girls, rather than ‘about’ girls, as a way of contextualizing issues related to their girlhood. I argue that preteen girls’ identities on SNSs can be reimagined as cyborg-subjectivities as girls disrupt binaries through ongoing discursive negotiations of gender and sexuality depending on moment to moment online/offline interactions. Utilizing examples from an online ethnographic observation of eighteen 12-13 year old girls in Christchurch, New Zealand, I discuss how these girls constituted online subject positions through co-constructive relationships with friends. I explore how girls utilized SNS technology to explore and engage with discourses of gender and sexuality. I discuss how girls’ ‘played’ with both conventional and alternative femininities and sexualities in their online photographs and discuss how these images resist classification as ‘sexy/innocent’, ‘children/teens’ and online/offline. This research also reconsiders how identity is understood on SNSs and utilizes a poststructuralist theoretical framework to explore how online identities are embodied and ‘citational’ of shared online/offline subject positions. In addition to ethnographic observation, this research explores girls’ talk and reflections about their Facebook practices through a focus group discussion and a qualitative questionnaire.