Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-15T16:25:19Z No. of bitstreams: 1 Valesca Canabarro Dios.pdf: 18782272 bytes, checksum: 8fa286e106d0db015f58896fa3f26b1c (MD5) / Made available in DSpace on 2017-05-15T16:25:19Z (GMT). No. of bitstreams: 1 Valesca Canabarro Dios.pdf: 18782272 bytes, checksum: 8fa286e106d0db015f58896fa3f26b1c (MD5) Previous issue date: 2017-03-30 / This Masters Dissertation analyzes audiovisual narratives produced by high school students during the rallies demonstration of the year 2015. Such events took thousands of youngsters to the streets and reached its peak when 200 schools in the São Paulo state were occupied. The students objected the restructuring proposal presented by the government of São Paulo. All narratives observed here were recorded using smartphones owned by the students. As the support of authors such as Manuel Castells, Jean-Louis Comolli, Ismail Xavier e Max Schleser, this study is aimed at understanding if the means of production interferes in the way the recording process is made and if it hints at a new form of narrative. To do so, we organized and classified about seven hour of recording material, all of it taken from the above-mentioned rallies. During our work, we could see that these occupations followed the same format other popular movements from the beginning of this century. They largely use the smartphone, the Internet and social network sites as their means of production, mobilization and action / Esta dissertação analisa narrativas audiovisuais produzidas pelos estudantes secundaristas durante o levante de 2015 que levou milhares de jovens às ruas e que culminou na ocupação de 200 escolas paulistas. Os estudantes se manifestavam contra a proposta apresentada pelo governo do Estado de São Paulo de reestruturação da rede de ensino. Todas as narrativas observadas foram gravadas por aparelhos celulares dos secundaristas. O objetivo da pesquisa é entender se o meio de produção interfere no jeito de filmar e se sugere a presença de uma nova narrativa. Com o apoio de autores como Manuel Castells, Jean-Louis Comolli, Ismail Xavier e Max Schleser, a pesquisa organiza e classifica cerca de sete horas de vídeos gravados durante o movimento. O percurso do estudo identificou que as ocupações seguiram o mesmo formato de outros movimentos populares do início do século XXI, que têm no celular, na internet e nas redes sociais seu principal meio de produção, mobilização e ação

La recherche en art se caractérise par une articulation polarisée entre la pratique artistique et la théorie. Cette thèse propose de transférer ce paradigme symptomatique de cette discipline vers la question pragmatique des modalités de sa communication scientifique. La forme de cette dernière fait débat pour les acteurs des écoles supérieures d'art françaises, qui défendent une liberté face au modèle prédominant de l'écrit universitaire. L'hypothèse formulée par cette thèse consiste à penser que la documentation devient une forme plausible de communication scientifique adaptée à la recherche en art. Pour traiter de cet objet d'étude, la recherche en arts numériques, le plus souvent interdisciplinaire, coopérative et collective, s'est avérée particulièrement pertinente, car la pluralité et la fragmentation de ses résultats permettent justement de sortir de la dichotomie pratique versus théorie. En effet, ces derniers impliquant plusieurs intervenants se partagent entre des créations artistiques, des développements technologiques et des contributions théoriques. Le constat d'un glissement de la documentation vers la communication scientifique est conditionné par l'existence de l'énonciation documentaire ; puisque le savoir, peu importe la pratique discursive utilisée, se concrétise par un discours compris comme le résultat d'un acte énonciatif. Trois études de cas à vocation exploratoire ont été menées autour de trois dispositifs documentaires établis par des acteurs de la recherche en arts numériques, en France et au Québec – le Cahier de Résidence de Kawenga, territoires numériques, le Répertoire des œuvres hypermédiatiques et les autres rubriques du sites internet du laboratoire NT2 et l'Archive Arc_Danse développée au laboratoire Hexagram-UQAM. La méthodologie utilisée érige l'énonciation documentaire pensée dans le prolongement de l'énonciation éditoriale comme un concept opérationnel. Elle s'articule en deux étapes. La première étudie la documentation comme dispositif info-communicationnel en utilisant, selon les terrains, différents outils et modes d'implication du chercheur. La seconde examine les objets documentaires par une approche sémiotique afin d'y relever directement les marques indicielles de l'énonciation documentaire et d'identifier conjointement les énonciateurs signalés et dissimulés. Il en ressort la caractérisation de régimes énonciatifs spécifiques. Cette thèse conforte l'idée que la documentation véhicule un discours documentaire au point qu'il est possible de l'utiliser comme un moyen communicationnel et non plus comme un outil de transfert neutre du contenu informationnel de documents vers des usagers. Elle en détaille aussi plusieurs attributs qui attestent concrètement de sa faculté à pouvoir répondre aux enjeux info-communicationnels propres à la recherche en arts numériques et plus globalement à la recherche en art. / Art research is characterized by a polarized articulation between art practice and theory. This thesis proposes to transfer this symptomatic paradigm from this discipline to the pragmatic question of the modalities of its scientific communication. The form of the latter is debated by the actors of the French higher art schools, who defend freedom in the face of the predominant model of academic writing. The hypothesis of this thesis is that documentation becomes a plausible form of scientific communication adapted to art research. To deal with this object of study, digital arts research, which is most often interdisciplinary, cooperative and collective, has proved particularly relevant, since the plurality and fragmentation of its results make it possible to break out of the practical versus theoretical dichotomy. Indeed, the latter involving several participants are divided between artistic creations, technological developments and theoretical contributions. The observation of a shift from documentation to scientific communication is conditioned by the existence of documentary enunciation; since knowledge, regardless of the discursive practice used, is embodied in a discourse understood as the result of an enunciative act. Three exploratory case studies were conducted around three documentary devices established by actors in digital arts research in France and Quebec - the Cahier de Résidence de Kawenga, territories numériques, the Répertoire des œuvres hypermediatiques and other sections of the NT2 laboratory website, and the Archive Arc_Danse developed at the Hexagram-UQAM laboratory. The methodology used raises the documentary statement thought to be an extension of the editorial statement as an operational concept. It is divided into two stages. The first one studies the documentation as an information-communication device using, depending on the field, different tools and modes of involvement of the researcher. The second examines documentary objects using a semiotic approach in order to directly identify the index marks of the documentary utterance and to jointly identify the reported and concealed utterers. This results in the characterization of specific enunciative regimes. This thesis supports the idea that documentation conveys a documentary discourse to the point that it can be used as a means of communication and no longer as a tool for the neutral transfer of information content from documents to users. It also details several attributes that attest concretely to its ability to respond to the info-communication issues specific to digital arts research and more generally to art research.