Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This contemporary art study aims to understand how the human body is modified through the contact with technological devices, especially considering Art and Technology works.The concepts of post-human and cyborg are discussed through the art works and so on studied and analyzed in the art field. The hybridization between human body and technology gives to it other features, widening or changing it and transforming it into a cyborg. This concept of cyborg talks about a body that shows new ways of communicating, establishing another power relations and, more importantly, assuming the features of being connectable, upgradeable and public. This master thesis helps the discussion and thinking about artistic experiences that use technologies that provides extensions of the body as an experience in the field of Contemporary Art. / Este estudo sobre a produção artística contemporânea visa compreender como o corpo humano é modificado a partir do contato com recursos tecnológicos, contemplando especialmente a produção em Arte e Tecnologia. Busca discutir, através das obras, os conceitos de pós-humano e de ciborgue, estudados e analisados no campo da arte. As alterações ou expansões do corpo lhe atribuem outras características, como a hibridação entre o corpo humano e as tecnologias, transformando-o em um ciborgue. Essa concepção nomeia um corpo que possui novos modos de comunicar-se, estabelece outras relações de poder e, mais importante, adquire as características de ser conectável, atualizável e público. Esta dissertação contribui para pensar e discutir as recentes experiências artísticas que as tecnologias disponibilizam para ampliar o corpo, como experiência no campo da Arte Contemporânea.

Aux confluences historiques et conceptuelles de la modernité, de la technologie, et del’« humain », les textes de notre corpus négocient et interrogent de façon critique lespossibilités matérielles et symboliques de la prothèse, ses aspects phénoménologiques etspéculatifs : du côté subjectiviste et conceptualiste avec une philosophie de laconscience, avec Merleau-Ponty ; et de l’autre avec les épistémologues du corps ethistoriens de la connaissance Canguilhem et Foucault. Le trope prometteur de laprothèse impacte sur les formations discursives et non-discursives concernant lareconstruction des corps, là où la technologie devient le corrélat de l’identité. Latechnologie s’humanise au contact de l’homme, et, en révélant une hybridité supérieure,elle phagocyte l’humain du même coup.Ce travail d’anthropologie bioculturelle (Andrieu, 1993; Andrieu, 2006; Andrieu,2007a), au croisement d’une sociologie des sciences (Latour, 1989), ou encore d’uneanthropologie des sciences (Hakken, 2001), se propose en tant qu’exemple de lacontribution potentielle que l’anthropologie biologique et culturelle peut rendre à lamédecine reconstructrice et que la médecine reconstructrice peut rendre à la plastique del’homme ; l’anthropologie biologique nous concerne dans la transformation biologiquedu corps humain, par l’outil de la technologie, tant dans son histoire de la reconstructionmécanique et plastique, que dans son projet d’augmentation bionique. Nous établironsune continuité archéologique, d’une terminologie foucaldienne, entre les deux pratiques.Nous questionnons les postulats au sujet des relations nature/culture, biologie/contextesocial, et nous présentons une approche définitionnelle de la technologie, pierreangulaire de notre travail théorique. Le trope de la technologie, en tant qu’outil adaptatifde la culture au service de la nature, opère un glissement sémantique en se plaçant auservice d’une biologie à améliorer. Une des clés de notre recherche sur l’augmentationdes fonctions et de l’esthétique du corps humain réside dans la redéfinition même de cesrelations ; et dans l’impact de l’interpénétration entre réalité et imaginaire dans laconstruction de l’objet scientifique, dans la transformation du corps humain.Afin de cerner les enjeux du discours au sujet de l’« autoévolution » des corps, lesthéories évolutionnistes sont abordées, bien que ne représentant pas notre spécialité.Dans le cadre de l’autoévolution, et de l’augmentation bionique de l’homme, la7somation culturelle du corps s’exerce par l’usage des biotechnologies, en ruptureépistémologique de la pensée darwinienne, bien que l’acte d’hybridation évolutionnistesoit toujours inscrit dans un dessein de maximisation bionique/génétique du corpshumain. Nous explorons les courants de la pensée cybernétique dans leurs actions detransformation biologique du corps humain, de la performativité des mutilations. Ainsitechnologie et techniques apparaissent-elles indissociables de la science, et de sonconstructionnisme social. / Situated at the historical and conceptual crossroads of modernity, technology and the“human”, this thesis will negotiate and critique the material and symbolic possibilities ofthe prosthesis, together with its phenomenological and speculative aspects. This workwill be undertaken on the one hand from a subjectivist point of view, using Merleau-Ponty and his conceptualist philosophy of consciousness; and on the another from aviewpoint based on epistemologists of the body and historians of knowledge such asCanguilhem, and Foucault. The promising trope of the prosthesis has an impact ondiscursive and non-discursive structures related to the reconstruction of the body, wheretechnology becomes the correlate of identity.This work in Biological Anthropology (Andrieu, 1993, 2006, 2007), interwining withSociology of Sciences (Latour, 1989) and Anthropology of Sciences (Hakken, 2001), isproposed as an example of the potential contribution which biological and culturalanthropology can make to reconstructive medicine and which reconstructive medecinecan make to human corporeality ; Biological Anthropology allows us to study theprocess of the human body’s biological modification, via technology and theincorporation of biomaterial into the body, through the medical history of mechanicaland plastic reconstruction, and through the cybernetic project of bionic augmentation.An archeological continuity, to use Foucault’s terminology, will be established betweenboth practices.We will question the postulates at stake in the relationships between nature and culture,biology and social context, and will present as a cornerstone of our theoretical work awide range of definitional approaches. The trope of technology as an evolutionaryadaptative tool of culture in the service of nature allows a semantic slide whereby itbecomes a tool to improve one’s biology. One of the keys of our research into thetransformation of the human body in medical practices is the very redefinition of thoserelationships; another is the impact of the interpenetration of reality and imaginary in theconstruction of the scientific object and the transformation of the human body.8In order to locate what is at stake in the discourse on “auto-evolution”, evolutionarytheories are tackled, albeit from a non-specialist outlook. In the context of autoevolutionand bionic augmentation of the human, the cultural somatic modification ofthe body

Despite being considered as the most social infection, there is little data on HIV infection in women. Women have not been considered beyond their reproductive role as subjects with a sexuality that transcends the historical mandate of biological reproduction, maintaining a secondary role in the infection. At the same time, society seems to have forgotten that the infection is still present. This thesis explores the voice of a group of positive women who, with their stories and through the digital narrative, will challenge the discourses that are established as hegemonic. In order to illustrate the potential of new tools as digital storytelling to disrupt and challenge the hegemonic herstory around women with HIV, the starting point for this thesis is Podcast Positivos: Mujeres VIHvas project. Engaging with the theories of intersectionality, performativity and cyborg, it will be argued the use of language, voice and the role of listening. Phenomenological research and narrative discourse analysis will be applied as methodologies to, on the one hand, address the experience of HIV as an important dimension in women's lives and, on the other hand, use their stories as a way to understand the meaning of those experiences. This thesis also discusses the creation of a cyber self, a viralized voice that is introduced into the already institutionalized podcast platform, to construct, deconstruct and challenge silences. Further, this thesis calls for an effort to listen, feel and write the stories of resistance of positive women and to put them into conversation within feminist academic debates.

This study examines power structures and oppression in the first two novels of the Lunar Chronicles by Marissa Meyer. Postcolonial theory and concepts as the Other/the other, and mimicry supplemented with an intersectional perspective are applied in the study. The study investigates how the protagonist, Cinder, is treated as a cyborg in a human world, and as a Lunar on Earth. Furthermore, it focuses on what happens when the oppressed becomes the oppressor and gains power. I conclude that the humans in Meyer’s sequel treat cyborgs in a similar way as the colonizer has treated the colonized through history. Cyborgs are suppressed due to fear from humans who neither understand cyborgs, nor have any interest to learn about them. The humans have a preconceived idea about what and who the cyborgs are and in correlation to the colonizer, the humans see no point in changing that view. Therefore, humans take the role as the Other while pushing cyborgs to become the other. In a similar way, Lunars become the Other due to their Lunar gift, which creates a power imbalance that they use to suppress people on Earth. When Cinder accesses her Lunar gift, she transforms from being the oppressed into the oppressor, and she must face the consequences of possessing such power which results in someone’s death. She realizes then that she would rather be the oppressed and be hurt herself than to be the oppressor and hurt others.

This project examines the relationship between gendered identities, virtual communities, and material bodies, with an emphasis on eating disorders and self-injury practices. The use of the internet to represent and foster particular categories of material bodies, such as the anorexic, the fitness buff, and the self-injurer, has gained substantial visibility due in part to the proliferation of visual imagery presented through social networks. I analyze written and visual texts within specific social networks to assess their function and potential impact on individuals and larger communities. Drawing from Donna Haraway's cyborg theory, N. Kathryn Hayles' posthuman, Judith Butler's performativity, feminist poststructural analysis, and the notion of augmented reality, this project explores how individuals rely on social networks, images, and technologies to provide supportive environments for, as well as modify and maintain, specific gendered bodies. Applying feminist interpretations of Foucault's concepts of discipline and "docile bodies," primarily the research and critiques of Susan Bordo, Anne Balsamo, and Armando Favazza (among others), I examine how image sharing and interactions via social networks and communities affect material bodies and function as forms of social control, normalizing and encouraging ultra-thin bodies and dangerous behaviors, including eating disorders, overexercise, and cutting. I also explore subversive strategies of resistance enacted both within and beyond pro-ana and self-injury communities to counter negative messages and promote positive body image in girls and women.

This dissertation examines the figures of the shaman and the cyborg, arguing that both act as intermediaries between the organic world of bodies and the artificial world of culture and machines. Using the sf of Robert Holdstock, David Zindell and Kathleen Ann Goonan as starting points, new forms of embodiment in the context of the cyborg and the shaman's shared narrative of radical boundary dissolution are critically and imaginatively examined. Throughout this thesis, the works of Deleuze and Guattari, Sadie Plant, Manuel De Landa, Erik Davis, Donna Haraway, Terence McKenna, and other speculative theorists who operate at the nexus of technological culture and the shamanic imagination serve as guidelines. / English Studies / M.A.

Made available in DSpace on 2016-04-28T19:59:18Z (GMT). No. of bitstreams: 1 Juliana Daniel.pdf: 314808 bytes, checksum: b09852b02637ee8001c1f1847495a38d (MD5) Previous issue date: 2009-09-29 / Secretaria da Educação do Estado de São Paulo / This dissertation propose to introduce the investigation of the character under the perspective of the relation alterity with the technology equipments in three short-stories by Ruben Fonseca: Zoom (1965); O Gravador (1965) and O quarto selo (Fragmento) (1967). The select short stories introduced an intimacy relation with the new communication technologies, in such a manner as the arrangement structure and the character gets, in this context, a new approach. It s in question the identity construction of the character and this part inside the short story, once that the other is the machine-subject. Beginning from the fundamental bakhtiniano concept the dialogue principle while alterity perception in the identity construction beyond Lévy conception about the relations between actual and virtual in technology universe, we considered the relation of the character with it s other the technological equipments in gradation that goes from virtual/simulation of the eyes and the voice throughout the camera zoom and the recorder, until the hybrid body of the real cyborg, like happens with the Exterminator in O quarto selo . However, at the same time, this other allows the character a possibility to expand itself, and it also can capture and destroy what is inherent in the human being. The technology doesn t cancel the contradictions, but, unlike, increase it them once more. We purpose, in this way, elaborate a reflection, although initial, about the function from the technological equipments to the characterization fonsequianas, aim at a reflection more wide open about the status creatures fiction in the contemporaneous period / Esta dissertação propõe o estudo da personagem sob a perspectiva de sua relação de alteridade com os aparatos tecnológicos em três contos de Rubem Fonseca: Zoom (1965), O gravador (1965) e O quarto selo (Fragmento) (1967). Os contos selecionados apresentam estreita relação com as novas tecnologias de comunicação, de modo que a estrutura composicional e a personagem ganham, nesse contexto, uma nova abordagem. Questiona-se a construção da identidade da personagem e seu papel dentro da narrativa, uma vez que o outro é o sujeito-máquina. Partindo do conceito fundamental bakhtiniano - o princípio dialógico enquanto percepção da alteridade na construção da identidade além da concepção de Lévy sobre as relações entre atual e virtual no universo das tecnologias, consideramos a relação da personagem com seu outro - os aparatos tecnológicos - numa gradação que vai da virtualização/simulação do olho e da voz por meio do zoom da câmera e do gravador, até o corpo híbrido de um verdadeiro ciborgue, como ocorre com o Exterminador em O quarto selo . Entretanto, ao mesmo tempo em que esse outro permite à personagem a possibilidade de se expandir, também pode aprisionar e destruir aquilo que é inerente ao homem. A tecnologia não anula as contradições das personagens, mas, ao contrário, acirra-as ainda mais. Objetivamos, desta forma, elaborar uma reflexão, ainda que inicial, sobre a função dos aparatos tecnológicos na caracterização das personagens fonsequianas, visando contribuir para uma reflexão mais ampla sobre o estatuto dos seres ficcionais na contemporaneidade

Made available in DSpace on 2016-04-26T18:14:52Z (GMT). No. of bitstreams: 1 Eduardo Kiochi Nakamiti.pdf: 730671 bytes, checksum: 08bbe2df9c9c685eaa5e4cdb5a4893a5 (MD5) Previous issue date: 2014-12-05 / The object of this research is to study the spread in mass and digital media in its various forms, scientific advances in the field of human-machine relations. The paper aims to discuss the gap between the forms of academic communication and dissemination, on the one hand, and popular, on the other, that depict the development of post-humanism and post-human in their quest for permanence or immortalization. Our specific objective is to evaluate, through the dissemination of the findings of the sciences of complexity, this popular form of communication that is doing this in digital media such as the Internet and other mass media. This type of communication designed to rapidly disseminate technological advances, simplify complex theories to popular understanding, and especially disseminate theses and controversial studies, often viewed with skepticism by the Academy. The mass media tries to portray the quest for permanence by man, disseminating technological discoveries that highlight the post-human and immortal. But, what is the purpose of this revolution? Why do we need all this energy in popular magazines? Is it because of the speed of these new discoveries? Our hypothesis is that this is necessary to ensure the funding of research in matters of public knowledge, but not yet developed. Methodologically, we use as sources on the one hand, the available academic literature, recognized by the Academy and, in particular, science articles from Scientific American. For dissemination in the mass media, we use the figure of Raymond Kurzweil as an exemplary case, because it comes from a scientist who became famous with the popular dissemination of technological change and its consequences, which result in Artificial Intelligence that will supersede Human intelligence. Because this popularization of science, the public is familiar with terms such as cosmology, nanotechnology, black hole, quasar, boson etc. Show as Ray Kurzweil has every sponsorship and support for their research, based on this disclosure form. Also be used as a source of dissemination multiple sites, as well as the program of Morgan Freeman television series titled "Great mysteries of the universe with Morgan Freeman." As theoretical sources, we use the traditional academic work Lúcia Santaella, Donna Haraway, Neil Badminton, Robert Pepperell, Rudiger Francisco, Paula Sibilia and Raymond Kurzweil, Brian Greene, Miguel Nicolelis, Robert Freitas Júnior, Michio Kaku as popular sources / O objeto desta pesquisa é estudar a divulgação nas mídias de massa e digital, em suas mais variadas formas de avanços científicos na esfera das relações homem-máquina. O trabalho visa discutir o descompasso entre as formas de comunicação e divulgação acadêmica, por um lado, e popular, por outro, que retratam o desenvolvimento do pós-humanismo e do homem pós-humano em sua busca pela permanência ou eternização. Nosso objetivo específico é avaliar, por meio da divulgação das descobertas das ciências da complexidade, esta forma de comunicação popular que está se faz presente nas mídias digitais, tal como a Internet e outras mídias de massa. Esse tipo de comunicação visa divulgar rapidamente os avanços tecnológicos, simplificar teorias complexas para o entendimento popular e, principalmente, divulgar teses e estudos controversos, normalmente vistos pela Academia com certo ceticismo. A mídia de massa se esforça em retratar a busca da permanência pelo homem, divulgando as descobertas tecnológicas que destacam o homem pós-humano como imortal. Mas para que esta revolução? Por que é necessário toda esta energia na divulgação popular? Será por causa da velocidade das descobertas? Nossa hipótese é de que isto se faz necessário para garantir as verbas de pesquisa em temáticas de conhecimento do público, mas ainda não desenvolvidas. Metodologicamente, utilizaremos como fontes, de um lado, a literatura acadêmica disponível, reconhecida pela Academia e, em especial, os artigos científicos da Scientific American. Para a divulgação na mídia de massa, utilizaremos a figura de Raymond Kurzweil como case exemplar, pois se trata de um cientista que se notabilizou com a divulgação popular da evolução tecnológica e de suas consequências, que resultarão numa Inteligência Artificial que suplantará a Inteligência Humana. Esta popularização da ciência está familiarizando o público com termos como cosmologia, nanotecnologia, buracos negro, quasar, bóson etc. Mostraremos como Ray Kurzweil possui todo o patrocínio e apoio para suas pesquisas, baseados nesta forma de divulgação. Também serão utilizados como fonte diversos sites de divulgação, bem como o programa da série televisiva de Morgan Freeman intitulada Grandes mistérios do universo com Morgan Freeman . Como fontes teóricas, usamos os trabalhos acadêmicos tradicionais de Lúcia Santaella, Donna Haraway, Neil Badmington, Robert Pepperell, Francisco Rudiger, Paula Sibilia e Raymond Kurzweil, Brian Greene, Miguel Nicolelis, Robert Freitas Júnior, Michio Kaku como fontes populares

O principal objetivo desta pesquisa é traçar um panorama sobre a trajetória da mulher no contexto da sociedade contemporânea a partir da Revolução pós- industrial utilizando-se para isso: o cinema, a propaganda e a internet . O ponto de partida é a revolução tecnológica a partir dos anos 70, seguindo com a revolução robótica, ciborgue e virtual. O intuito é mostrar como a representação da imagem da mulher vem se moldando às novas tecnologias, e como ela neste processo se adapta aos novos paradigmas sociais apresentados, onde as metáforas do robofem e do mulher-máquina que proliferaram na sociedade industrial estão hoje em decadência. Numa metamorfose balizada pela teleinformática e pelas biotecnologias, tais imagens estão sendo substituídas por outras: aquelas que começam a esboçar a mulher-informação, a mulher-comunicação, a mulher-ciborgue, a mulher virtual. Emerge, assim, uma nova imagem do feminino condenada a um upgrade constante, tanto do seu hardware (corpo/organismo) como de seu software (mente/código), e que visa a ultrapassagem dos limites espaciais e temporais que constringem a condição humana. Esta passagem do ser orgânico-inorgânico está em constante mutação. Basta que haja um esforço de adaptação às novas mudanças. E a mulher é peça fundamental neste novo contexto histórico. Por isso ser importante esta análise da representação de sua imagem em vários momentos sociais, que retomam alguns conceitos históricos através da sociologia, da antropologia e das teorias da comunicação. Para isso, basta estar aberto para estas novas incursões e aprender a conviver com o inusitado, pois a mulher, enquanto gênero, também está em constante upgrade pessoal, em uma eterna metamorfose, onde passa muitas vezes, de ditadora das regras a uma simples seguidora de modismos, que tem como consequência um downgrade de si mesma, pois apesar de estar intelectualmente, economicamente e socialmente mais sedimentada na sociedade, mesmo assim sente um vazio interior, provavelmente proveniente de um aceleramento sem consciência e sem muita direção de onde pretendia chegar e qual seria realmente a sua ascensão social. E é isso que se pretende analisar no decorrer da pesquisa: provar, através de vasta argumentação apoiada na bibliografia levantada, que esta mulher procura saídas plausíveis e substanciais para se firmar nesta constante e pouco segura sociedade que se metamorfoseia conforme as exigências do tempo e do espaço. / The main objective of this research is to draw a picture about the history of women in contemporary society from the industrial revolution after using it for two media: the cinema and advertising. The starting point is the technological revolution from 70 years following the revolution in robotics, and virtual cyborg. The aim is to show how the woman has developed in contemporary society and explore why this company is slowly dematerializing, where the metaphors of the robot and the human-machine that proliferated in industrial society are now in decline. A metamorphosis baptized by teleinformática and the biotechnology, such images are being replaced by others: those that begin to sketch the man-information society technology. In this way a subject bound to a constant upgrade both your hardware (body body) as its software (mind / code), aiming at exceeding the spatial and temporal boundaries that constrict the human condition. The image of the organic-inorganic is constantly changing. Just as we strive a little to adapt to many changes, that started with the post-industrial revolution in places and surprise us at every moment. The woman is a key part in this new historical context. Therefore it is important that analysis of the representation of your image in various social moments, returning with some historical concepts of sociology, anthropology and theories of communication. To do this just to be open to these new incursions and learn to live with the unexpected, as women, while gender is also in a constant upgrade of staff, in an eternal metamorphosis, which is often a dictator rules to a simple follower of fashion, which leads to a downgrade of itself, because despite being intellectually, economically and socially more established in society, still under a vacuum inside, probably from a speeding without conscience and without much direction he wanted to come and which would really be their social mobility. And that\'s what we intend to analyze during the research: to prove, through extensive argument supported by the bibliography reviewed, this woman looks plausible and substantial outputs in order to confirm this constant and uncertain society that transforms according to the demands of time and space.

Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.