RESUMO Este estudo mostra como se deu a relação das artes visuais com a ciência e a tecnologia. Para isso, partiu das idéias lançadas pelos irmãos Naum Gabo e Anton Pevsner, construtivistas russos, através do Manifesto realista, procurando libertar as artes visuais de seu estigma de arte estática. Esta pesquisa acompanhou o trajeto de artistas (Archipenko, Ducahmp, Gabo, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Le Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, Jeffrey Shaw...) que, ao longo do século XX, desenvolveram pesquisas nesta linha. Este trabalho percorreu a história da arte cinética, apontando artistas que exploraram a interatividade (a perceptiva, a espaço/temporal ou a potencial surgida da relação da arte com a tecnologia) além daqueles que buscaram soluções em outras disciplinas, tanto em outras artes como na ciência. Mostra como a complexidade desta interdisciplinaridade criou mudanças de conceitos formais, estruturais e estéticos. Enfoca também como a adesão das artes às novas tecnologias provocou transformações não apenas no mundo dos artistas, mas também no universo institucional que incentiva e promove as artes visuais contemporâneas. / Abstract This study intends to analyze the relationship between visual arts, science and technology. Its initial reference is the idea written by two Russian Constructivist artists, Naum Gabo and Anton Pevsner, in the Realist Manifesto, in 1920. The two artist, that were also brothers, were trying to free visual arts of its static art's stigma. For that, this research followed some artists' itinerary that developed researches with this approach in the 20th century, such as Archipenko, Duchamp, Flatters, Pevsner, Moholy Nagy, Mari, Bury, Tinguely, Schöffer, Takis, Tatlin, Rodchenko, Man Ray, Calder, Reads Parc, Palatinik, Lígia Clarck, Robert Rauchemberg, Christa Sommer&Laurent Mignonneau, and Jeffrey Shaw. This work went trough the kinetic art history and examined artists that have explored the interaction pointing in their works (the perceptive interaction, the space interaction and the new potential interaction that appeared from the relationship between art and technology), and examined as well as artists that have found solutions in others discipline, such as science. The complexity of this interdisciplinary relationship created formal, structural and aesthetic concepts changes in the art world. Finally, the study also focuses in how the artist’s adhesion to new technologies provoked transformations in the institutions that motivates and promotes the contemporary visual arts.

La era del plus digital nos proporciona un espacio en el cual nosotros podemos controlar y manejar bitácoras relacionadas a afinidades o trabajo. Asimismo, debido a las redes sociales y a su rol en la cultura actual, los artistas cuentan con más ventanas de exhibición en las cuales sus trabajos pueden ser vistos por una mayor cantidad de personas con intereses relacionados al arte y a la cultura. Sin embargo, hay galerías virtuales que se enfocan en mostrar al mundo el trabajo de mujeres y más aun de aquellas que comienzan en el mundo artístico. Esto representa un nuevo e interesante giro con enfoque de género, que motiva una revisión puesto que la posición de las mujeres en el mundo del arte se ha visto obstaculizada a lo largo de los años. En este documento se analizarán los procesos y dinámicas de cuentas latinoamericanas relacionadas al arte y difusión. Luego, se abordarán los retos y procesos por los que atraviesan las administradoras bajo su discurso feminista. / The era of the digital plus provides us with a space in which we can control and manage blogs related to affinities or work. Likewise, because of social networks and their role in current culture, artists have more exhibition windows in which their works can be seen by a greater number of people with interests related to art and culture. However, there are virtual galleries that focus on showing the world the work of women and even more of those who start in the artistic world. This represents a new and interesting turn with a gender perspective, which motivates a revision since the position of women in the art world has been hindered over the years. This document will analyze the processes and dynamics of Latin American accounts related to art and diffusion. Then, the challenges and processes that administrators go through under their feminist discourse will be addressed. / Trabajo de investigación

Alors que le modèle économique de la télévision américaine, longtemps dominant, a été mis au défi de diverses manières par les changements industriels et technologiques de ces dernières années, des formes narratives de plus en plus hétérogènes sont apparues, qui se sont ajoutées aux structures sérielles originaires. La diversité des formes télévisuelles est devenue particulièrement évidente depuis que les paysages télévisuels nationaux et locaux ont commencé à s’ouvrir aux marchés étrangers situés en dehors des États-Unis, pour finalement adopter une perspective transnationale et globale. La transition vers la télévision distribuée sur Internet a joué un rôle central dans cette fragmentation formelle et la nouvelle dynamique de la diffusion en ligne a ouvert une different perspective pour comprendre le flux mondial de contenus télévisuels, qui reflète aujourd'hui un environnement multimédia et numérique hautement interconnecté et mis en réseau. En effet, la multiplication des services de vidéo à la demande oblige la sérialité à s’adapter au paysage médiatique contemporain, donnant naissance à des produits audiovisuels pouvant être transférés en ligne et présentant des spécificités de production, de distribution et de réception. L’un des résultats de tels changements dans les séries télévisées américaines à l’aube du XXIe siècle est la série anthologique divisée en différentes saisons avec des histoires distinctes, et pourtant liées par le ton et le style. Ma recherche se situe dans un tel contexte technologique, industriel et culturel, où le contenu télévisuel est de plus en plus fragmenté. Compte tenu de cette fragmentation des contenus, cette thèse examine la manière dont les contenus télévisuels contemporains sont distribués, dans l'interaction entre les processus de recommandation basés sur des algorithmes et les pratiques éditoriales plus traditionnelles. L’objectif de ce projet est donc d’étudier la manière dont certaines structures narratives typiques de la forme de l’anthologie apparaissent dans le contexte de la sérialité de la télévision nord-américaine, à partir de conditions spécifiques de production, de distribution et de consommation dans l’industrie des médias. En se concentrant sur l'évolution (dimension temporelle et historique) et sur la circulation numérique (dimension spatiale, géographique) des séries d'anthologies américaines, et en observant les particularités de leur production et de leur style, ainsi que leurs réseaux de distribution et les modes de consommation qu'elles favorisent, cette thèse s’inscrit finalement dans une conversation plus vaste sur les études culturelles et numériques. L’objectif final est d’étudier la relation entre les formes anthologiques, les plateformes de distribution et les modèles de consommation, en proposant une approche comparative de l’anthologie qui soit à la fois cross-culturelle, crosshistorique, cross-genre et qui prenne en consideration les pratiques pre- et post-numériques pour l’organisation de contenus culturels. / As the longtime dominant U.S. television business model has been challenged in various ways by industrial and technological changes in recent years, more heterogeneous narrative forms have emerged in addition to original serial structures. The diversity of televisual forms became particularly evident since national, local television landscapes started opening up to foreign markets outside of the U.S., finally embracing a transnational, global perspective and tracing alternative value-chains. The transition to internet-distributed television played a pivotal role in this formal fragmentation and new dynamics of online streaming opened up another path for understanding the flow of television content, which today reflects a highly interconnected, networked media and digital environment. Indeed, the proliferation of video-on-demand services is forcing seriality to adapt to the contemporary mediascape, giving rise to audiovisual products that can be transferred online and present specificities in production, distribution and reception. One of the outcomes of such changes in U.S. television series at the dawn of the twenty-first century is the anthology series divided in different seasons with separate stories, yet linked by tone and style. My research positions itself in such a technological, industrial and cultural context, where television content is increasingly fragmented. Given such a fragmentation, this thesis considers the ways contemporary television content is distributed in the interaction between algorithmic-driven recommendation processes and more traditional editorial practices. The aim of the project is to investigate the way certain narrative structures typical of the anthology form emerge in the context of U.S. television seriality, starting from specific conditions of production, distribution and consumption in the media industry. By focusing on the evolution (temporal, historical dimension) and on the digital circulation (spatial, geographic dimension) of U.S. anthology series, and observing the peculiarities in their production and style, as well as their distributional networks and the consumption patterns they foster, this thesis ultimately insert itself into a larger conversation on digital-cultural studies. The final purpose is to examine the relation between anthological forms, distribution platforms and consumption models, by proposing a comparative approach to the anthology that is at the same time cross-cultural, cross-historical, cross-genre and accounting for both pre- and post-digital practices for cultural content organization.

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För att genomföra en digital transformation och ta del av de möjligheter som det digitala erbjuder är den digitala mognaden av vikt för att företag effektivt ska förhålla sig i en allt mer digital affärsmiljö. Den digitala transformationen drivs av lednings- och styrningsfrågor såsom kultur, strategi och kompetens där enbart implementering av ny teknik inte bedöms vara tillräcklig. Denna studie undersöker den digitala mognadsgraden på drivmedelsföretag samt identifierar centrala nyckelområden kopplat till kultur, strategi och kompetens som utifrån ett ledningsperspektiv anses vara främjande eller hämmande i transformationsarbetet för drivmedelsföretag i Sverige. Det är en explorativ liten N-studie med en abduktiv ansats. Den empiriska datainsamligen samlades in genom semi-strukturerade intervjuer. Intervjuerna genomfördes med fem olika respondenter från två olika drivmedelsföretag samt en branschorganisation. Studien undersöker de medverkande drivmedelsföretagens digitala mognad samt identifierar de nyckelområden som anses antingen främja eller hämma transformationsprocessen och har utgått ifrån teori rörande, digitalisering, digital mognad, digitala mognadsmodeller, digital strategi, digital kompetens och ledningsförmåga och digital kultur. Analysen belyser områden som har identifierats vara främjande för drivmedelsföretag i transformationsarbetet; genomsyrande kultur, acceptera brister, implementera i mindre skala, lokal anpassning och vikten av chefernas roll i transformationsrealiseringen. Det framkommer även i analysen områden som identifieras vara hämmande i transformationsarbetet för drivmedelsföretagen; gamla system försvårar digitaliseringen, bristande kommunikation genom leden och skilda verklighetsuppfattningar. Lednings- och styrningsfrågor är det som anses driva den digitala transformationen, dessa är abstrakta och det förekommer olika strategier i hur stora företag arbetar med dessa för att främja transformationsarbetet. Denna studie fann nyckelområden som var gemensamma för de undersökta drivmedelsföretagen där ett vidare arbete med både de identifierade främjande- och hämmande nyckelområdena kan på sikt öka dess digitala mognadsgrad och konkurrenskraft på drivmedelsmarknaden. / In order to carry out a digital transformation and take advantage of the opportunities that digital offers, digital maturity is important for companies to operate effectively in an increasingly digital business environment. The digital transformation is driven by management and governance issues such as culture, strategy and competence, where the implementation of new technology alone is deemed insufficient. This study examines the digital maturity of fuel companies and identifies key areas related to culture, strategy, and competence, which are considered either facilitating or inhibiting from a management perspective in the transformation efforts of fuel companies in Sweden. It is an exploratory n-study with an abductive approach. The empirical data was collected through semi-structured interviews conducted with five different respondents from two different fuel companies and an industry organization. The study examines the digital maturity of the participating fuel companies and identifies the key areas that are considered to either promote or hinder the transformation process and has been based on theory relating to digitization, digital maturity, digital maturity models, digital strategy, digital competence and leadership and digital culture.The analysis highlights areas identified as beneficial for fuel companies in their transformation efforts: pervasive culture, accepting flaws, implementing on a smaller scale, local adaptation, and the importance of managers’ role in realizing transformations. The analysis also reveals areas identified as hindering the transformation efforts for fuel companies: legacy systems complicating digitization, communication gaps within the hierarchy, and differing perceptions of reality. Management and governance issues are considered to drive digital transformation, these are abstract and there are varying strategies in how large companies work with these to promote transformation efforts. This study found key areas common to the examined fuel companies, where further work on both the identified facilitating and inhibiting key areas could ultimately increase their digital maturity and competitiveness in the fuel market.

This dissertation is a theoretical study of the role of virality/virulence as a predominant technological term in the reproduction of social and cultural information in the digital age. I argue that viral media are not new phenomena, only the name is new. Media have always behaved as viruses; it is only when they become hyper-intensified in digital technology that their virulent function surfaces in language and culture. The project examines processes of self-replication and evolution undergone by various new media phenomena as they relate back to the global profusion of social networks, data centers, and cybernetic practices. Drawing from several contributions in media theory, political and social theory, and critical media studies, I argue that digital media have a hyper-intensifying effect on whatever objects, subjects, or realities they mediate or represent; thus networked societies are virulently swarmed by their own signs and images in information. Through an examination of three primary categories of digital proliferation—language, visuality, and sexuality—I situate digital culture in a framework of virulence, arguing that the digital may be best understood as an effect of cultural hyper-saturation and implosion. I argue that virulent media networking processes come to constitute a powerful cybernetic system, which renders the human subject a mere function in its global operations. Lastly, I begin to develop a political critique of cybernetics, claiming that the proliferation of information, digital media, and communicative/representational technologies in the contemporary world emerges through an intensified ideological, economic, social, cultural, and metaphysical framework of productivism. This intensification engenders a system, or series of communicational circuits, whereby all techno-subjective activities are strategically stimulated, networked, recorded, and algorithmically appropriated to strengthen and reproduce 1) a global productivist system of cybernetics; 2) The material and ideological conditions for such a system to exist and thrive; 3) limitless virtual and digital production. / Ph. D.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-10-10T14:19:28Z No. of bitstreams: 1 FELIPE MATTEI MARTINS.pdf: 4016627 bytes, checksum: f071b50fa4cb484e8f00cf4fe5d6d9e4 (MD5) / Made available in DSpace on 2017-10-10T14:19:29Z (GMT). No. of bitstreams: 1 FELIPE MATTEI MARTINS.pdf: 4016627 bytes, checksum: f071b50fa4cb484e8f00cf4fe5d6d9e4 (MD5) Previous issue date: 2016-12-12 / This dissertation "Education, public sphere and communicative action of struggle for recognition: study on racist offenses against Spider keeper" has as its central theme the relationship between education, the public sphere and communicative action, so that they can investigate racist attitudes involved in the case of the goalkeeper M?rio L?cio Costa Duarte (Spider goalkeeper), based on the theory of Axel Honneth: Struggle for Recognition: the moral grammar of social conflicts (2012). The assumption pervades the possibility, within the inter-subjective relationship of individuals in the field of education in the public space, the contribution or not to reduce racist practices. For this, as secondary objectives, it is necessary to expose the works of J?rgen Habermas (2012, 2014) as a theoretical apparatus for coherent analysis of the public sphere and communicative action, which allow the argument for education against the forms of disrespect . It promotes, throughout the dissertation, the dialogue between theory and context of social reality, as a metonymy of the existing communication in society through the internet (digital media), analyzing the agents involved, its consequences in social life and this crop has as effect to contemporary society through educating its agents and transform them. The case analyzed in this dissertation presents as agents involved Spider goalkeeper, supporter Patricia Moreira, press, digital media and society, which allows the realization of possible interpretations of the struggle of the black movement and how society is or not turning, based on the construction of concepts that allow us to reflect about racism in Brazilian society. / A presente disserta??o ?Educa??o, esfera p?blica e o agir comunicativo da luta por reconhecimento: estudo sobre as ofensas racistas contra o goleiro Aranha? tem por objetivo estudar a rela??o entre a educa??o, a esfera p?blica e o agir comunicativo, para que se possam investigar as atitudes racistas envolvidas no caso do goleiro M?rio L?cio Duarte Costa (goleiro Aranha), com base na teoria de Axel Honneth: Luta por Reconhecimento: a gram?tica moral dos conflitos sociais (2012). A hip?tese permeia a possibilidade, dentro da rela??o intersubjetiva dos sujeitos, na esfera da educa??o no espa?o p?blico, da contribui??o ou n?o para a diminui??o das pr?ticas racistas. Para isso, como objetivos secund?rios, faz-se necess?rio expor as obras de J?rgen Habermas, (2012; 2014) como aparato te?rico para a an?lise coesa sobre a esfera p?blica e o agir comunicativo, que possibilitam a argumenta??o pela educa??o contra as formas de desrespeito. Promove-se, ao longo da disserta??o, a interlocu??o entre as teorias e o contexto da realidade social, como uma meton?mia da comunica??o existente na sociedade por meio da internet (m?dia digital), analisando os agentes envolvidos, suas consequ?ncias no conv?vio social e o que este recorte traz como efeito para a sociedade contempor?nea, meio que educa os seus agentes e os transformam. O caso analisado nesta disserta??o apresenta como agentes envolvidos o goleiro Aranha, a torcedora Patr?cia Moreira, a imprensa, a m?dia digital e a sociedade, o que possibilita a realiza??o de interpreta??es poss?veis sobre a luta do movimento negro e o quanto a sociedade est? ou n?o se transformando, com base na constru??o de conceitos que nos permitem fazer uma reflex?o a respeito do racismo na sociedade brasileira.