Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-02-22T16:13:07Z No. of bitstreams: 1 arquivototal.pdf: 4524762 bytes, checksum: 7fd4b57155197d6e40db15a8b4dd0410 (MD5) / Made available in DSpace on 2016-02-22T16:13:07Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4524762 bytes, checksum: 7fd4b57155197d6e40db15a8b4dd0410 (MD5) Previous issue date: 2014-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With the emergence of the internet, the most important environment of cyberculture, we begin to observe that a certain freedom of creation performed by amateurs take up a space and a visibility that draws the attention of scholars. To conduct this research, we use as theoretical background the knowledge on culture, sub and counter culture, culture industry and cyberculture studies, participation and sharing culture.Therefore, we observe the emergence of a culture of the "do it yourself", which had its first manifestations in the hands of hackers and scientists, who explored this new territory and started to create new usage possibilities. Over time these actions have been gaining a new contour, resulting, in the long run, on the Internet as we know it.This dissertation aims to seek an understanding on the current dimension of the culture of the do it yourself on the internet, observing all its features implemented in the examples mapped.This is a qualitative research, which objectives are set on an exploratory and explanatory research, seeking to understand this phenomenon in the context of Communication.We performed a literature research accompanied by field surveys, directly on the Internet, to collect all the data needed for the analysis and clarifications. We conclude that the culture of the do it yourself is a basic principle of cyberculture and we become aware of inversion in the logic of the cultural industry, which once determined what the public would consume, and is now seeks on the public new ways to obtain profit. / Com o surgimento da internet, principal ambiente da cibercultura, começamos a observar uma liberdade de criação realizada por amadores ganhar um espaço e uma visibilidade que chamam a atenção dos estudiosos. Para realizar esta pesquisa, utilizamos como fundamentação teórica conhecimentos acerca de cultura, sub e contra cultura, indústria cultural e os estudos sobre cibercultura, cultura da participação e do compartilhamento. Diante disso, observamos o surgimento de uma cultura do faça você mesmo, que teve suas primeiras manifestações nas mãos dos hackers e cientistas, que exploraram aquele novo espaço e começaram a criar novas possibilidades de uso. Com o tempo essas ações foram ganhando novas configurações, até chegar à internet que conhecemos hoje. O objetivo principal desta dissertação é buscar um entendimento para a atual dimensão da cultura do faça você mesmo na internet, observando todas as suas características aplicadas nos exemplos que mapeamos. Trata-se de uma pesquisa de natureza qualitativa, cujos objetivos têm caráter de pesquisa exploratória e explicativa, no sentido de buscar a compreensão desse fenômeno no contexto da Comunicação. Operacionalizamos uma pesquisa bibliográfica acompanhada de levantamento de campo, diretamente na internet, para coletar todos os dados necessários à análise e explicações. Concluímos que a cultura do faça você mesmo configura-se como um princípio básico da cibercultura e percebemos que está havendo uma inversão na lógica da indústria cultural, que antes determinava o que o público iria consumir, e agora busca no público novas formas de obter lucro.

Les FabLabs, les hackerspaces et les makerspaces sont des ateliers collectifs équipés de machines à commandes numériques et organisés en réseau. Ces lieux s’inscrivent dans l’élan du mouvement maker et dans l’héritage des hackers. Ils se présentent comme des espaces ouverts à tous et pour tout faire. Malgré une forte médiatisation, la réalité des discours et des pratiques qui s’y développent est encore peu étudiée. Cette thèse en esthétique et en design s’appuie sur une vaste enquête ethnographique menée de 2012 à 2015 au coeur de ces communautés, en France et à l’étranger.De nombreux entretiens et observations dessinées permettent une description critique des manières de faire rencontrées sur ces terrains.Les pratiques, les discours et les ambitions de la fabrication numérique personnelle se construisent dans les marges des territoires classiques de l’industrie et du design et en brouillent les cadres historiques. La première partie de la thèse retrace les origines des mouvements maker et hacker et des FabLabs. En s’appuyant sur des données de première mains et sur des récits plus classiques, elle montre comment la contre-culture américaine et les ambitions technophilesdes chercheurs du MIT rencontrent des appropriations locales divergentes.La réhabilitation du plaisir au travail et l’héritage des Arts and Crafts sont deux aspects qui permettent d’envisager ces lieux comme des terrains d’expérimentation sociale, au-delà de la stricte production. Dans la deuxième partie, la thèse se concentre sur les valeurs d’ouverture et de partage prônées par les amateurs, bricoleurs, makers ou inventeurs contemporains. L’hypothèse d’un design ouvert et participatif conçu hors des standards de la production industrielle de masse est examinée. L’« open design » place la production d’objets dans le sillage de l’open source. Les résultats de ce type de production dessinent les contours encore fl ous d’un territoire nouveau pour le design.La troisième partie étudie les promesses et contradictions qui entourent la démocratisation de l’innovation et de la production. L’impression 3D est prise comme cas d’étude emblématique pour étudier les ambivalences de l’émancipation espérée par les porteparoles du mouvement maker. Ces pratiques hésitantes nourrissent les ramifi cations de ce que nous proposons d’appeler un design diffus. Celui-ci se développe par tâtonnements dans les communautés d’amateurs et touche à des activités créatives d’invention, de Conception et de fabrication.L’étendue rhizomatique des manières de faire propresau design diff us est composée d’objets sans apparat,situés dans les marges de l’industrie. Selon la défi nitionqui en est proposée, ils sont conçus de manière ouverteet documentée dans l’objectif d’explorer et de contribuerà la découverte des technologies de la fabricationnumérique personnelle. Sans constituer de paradigmeclos, le design diff us détourne les normes instituées etles procédures classiques du design et de l’industriepour proposer une conception exploratoire et ouverte dela fabrication. / FabLabs, hackerspaces and makerspaces are shared workshops, equipped with digital tools and organised in a network. These places are connected to the maker movement and are heirs to hackers.They off er themselves as places where anybody can come and make anything. In spite of some strong media coverage, the reality of discourses and practices that occur in those places has not yet been much studied. This dissertation in Aesthetics and design is based on a large ethnographic survey conducted between 2012 and 2015, in France and abroad. A series of interviews and drawn observations allows for a critical description of the ways of doing that can be witnessed on these fields. Practices, discourses and ambitions of personal digital fabrication are built in the margins of the classical fields of industry and design, blurring their historical frames. The fi rst part of this dissertation retraces the origins of FabLabs as well as of the maker and hacker movements. First hand data and classical accounts reveal how American counter-culture and the technophile ambitions of MIT researchers result in diverging local appropriations.The rehabilitation of pleasure at work and the heritage of the Arts and Crafts both point to these places as fields ofsocial experimentation, beyond mere production. In the second part, this dissertation focuses on the values of openness and sharing advocated by contemporary amateurs, tinkerers, makers or inventors. The hypothesis of a design that could be open, participative, out of the standards of industrial mass production is examined. « Open design » places the production of artefacts in the wake of open source. This type of production ends up shaping a new, though hazy, field for design.The third part studies the promises and contradictions that surround the democratization of innovation and production. 3D printing is taken as an emblematic case study to consider the ambivalences behind the emancipation expected by representatives of the maker movement.These indecisive practices feed the branches of what we might call 'diff use design'. It develops itself by trial and error in amateur communities and reaches creative activities of invention, conception and fabrication. The rhizomatic area of diff use design comprises rather plain objects, situated in the margins of industry. According to this defi nition, they are produced in an open and documented way, in order to explore and contribute to the discovery of digital fabricationtechnologies. Diff use design is not a closed paradigm, but turns away from instituted norms and off ers an openand exploratory conception of fabrication.

En relation avec la pratique artistique de l’auteur, cette recherche se développe autour de la questiondes comportements du spectateur de l’art contemporain dans l’espace de l’œuvre, en France.L’art intègre depuis les années 1960 le spectateur, appelant sa participation ou le tenant volontairement à distance. Les oeuvres ne nécessitent plus une attitude contemplative, espèrent le visiteur actif voire acteur du déroulement de la création. Mais l’observation de ses comportements révèle également un rapport inédit à l’espace de l’art : certains publics y voient une continuité de la rue, et leur réception s’en ressent. L’étude de cette nouvelle figure du spectateur mène à interroger les outils que lui proposent les structures, afin que sa rencontre avec l’œuvre ne soit pas vaine : la médiation est développée, accompagnement nécessaire mais potentiel obstacle à une interprétation personnelle. Elle est aussi une vitrine de la démocratisation culturelle ; comme d’autres missions des lieux d’art, elle a pour fonction d’attirer et de fidéliser des publics peu sensibles à l’art actuel. Les espaces de consommation, de repos peuvent les inciter à dépasser le seuil des lieux d’exposition, qui doivent s’adapter aux diverses attentes – souvent contradictoires – des artistes et du public, et aux exigences politiques.L’auteur donne forme plastique à ces préoccupations dans une installation traduisant, par une pratique du bricolage qui lui est propre, l’enfouissement de l’œuvre sous les discours de médiation et les diverses préoccupations concernant l’accueil des spectateurs. Que devient l’œuvre lorsque le contexte de l’art occupe plus de place dans les discours que l’art lui-même ? / In conjunction with the creator’s artistic practice, this research develops the issue of the contemporary art spectator’s behaviors in art spaces in France.Art has integrated the visitor since the 1960’s, calling upon his participation or voluntarily keeping him at a distance. The works do not require a contemplative attitude anymore, but would rather the visitor be active or even an actor in the creation process. But observing these behaviors equally reveals a new relationship with art spaces: certain publics consider them a continuation of the street, which plays out in their reception of the artwork. The study of this new type of spectator brings about an inquiry of the tools with which organizations provide him so that his encounter with the artwork is not in vain: mediation is developed, a necessary guide, but also a potential obstacle to a personal interpretation. It is also a showcase of cultural democratization. Like other arts centers’ missions, mediation is meant to attract and develop the public’s loyalty, especially for those who are not aware of contemporary art.Consumption and leisure spaces can incite them to enter the exhibition space, which must be adapted to political requirements and to the often contradictory expectations of the artists and of the public. The creator gives his interests a visual form in an installation, using his own methods and thus translating the artwork’s meaning, hidden beneath mediation, and the different concerns around the public’s reception. What does the work of art become once the context takes center stage in the discussion on art itself ?

Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.

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The dissertation “Informal Economic Activities” takes a comprehensive approach to the informal economy by studying traditional shadow economic activities, household DIY activities, and the smuggling of illegal and legal goods. Chapter 2 analyzes shadow economic and DIY activities and presents a dual estimation for the development of both types of informal economic activities in Germany from 1970 to 2005. It also considers the impact of German reunification on shadow economic and DIY activities and employs a proper estimate of domestic currency in circulation within Germany as an indicator variable for the shadow economy. Chapter 3 studies an informal economic activity that has attracted much attention recently: legal goods smuggling, or the illegal trade of otherwise legal goods. The main channel of this type of smuggling is the falsification of trade documents. By reporting false amounts of exports and/or imports to authorities smugglers, or trade misinvoicers, seek to avoid paying taxes and/or tariffs. Chapter 4 widens the analysis of smuggling to the smuggling of illegal goods and studies the smuggling of legal and illegal goods across the U.S.-Mexico border in order to improve the understanding of illegal trade. Studying the U.S.-Mexican case is particularly interesting as most illegal drugs and immigrants enter the United States via the Mexican border. The empirical analyses in the dissertation “Informal Economic Activities” are based on structural equation models (SEMs). The results demonstrate that the informal economy is significant and that growth of the informal economy is not exclusive to developing countries, although it is a more serious problem in these countries. Moreover, although the informal economy covers a wide range of rather diverse economic activities, the dissertation works out that a few similarities exist. These are important, especially for policymakers, in first understanding what drives informal economic activities and second designing appropriate policies to deter them.

The dissertation “Informal Economic Activities” takes a comprehensive approach to the informal economy by studying traditional shadow economic activities, household DIY activities, and the smuggling of illegal and legal goods. Chapter 2 analyzes shadow economic and DIY activities and presents a dual estimation for the development of both types of informal economic activities in Germany from 1970 to 2005. It also considers the impact of German reunification on shadow economic and DIY activities and employs a proper estimate of domestic currency in circulation within Germany as an indicator variable for the shadow economy. Chapter 3 studies an informal economic activity that has attracted much attention recently: legal goods smuggling, or the illegal trade of otherwise legal goods. The main channel of this type of smuggling is the falsification of trade documents. By reporting false amounts of exports and/or imports to authorities smugglers, or trade misinvoicers, seek to avoid paying taxes and/or tariffs. Chapter 4 widens the analysis of smuggling to the smuggling of illegal goods and studies the smuggling of legal and illegal goods across the U.S.-Mexico border in order to improve the understanding of illegal trade. Studying the U.S.-Mexican case is particularly interesting as most illegal drugs and immigrants enter the United States via the Mexican border. The empirical analyses in the dissertation “Informal Economic Activities” are based on structural equation models (SEMs). The results demonstrate that the informal economy is significant and that growth of the informal economy is not exclusive to developing countries, although it is a more serious problem in these countries. Moreover, although the informal economy covers a wide range of rather diverse economic activities, the dissertation works out that a few similarities exist. These are important, especially for policymakers, in first understanding what drives informal economic activities and second designing appropriate policies to deter them.

In this project I conduct two experiments in redistributing media power and reflect upon how successful they were. The experiments include a poster campaign specific to Richmond and a project dealing with educating people about guerrilla media techniques.