Esta dissertação tem como objetivo compreender como se dá a construção e o consumo de narrativas efêmeras do cotidiano nas Histórias do Snapchat e Instagram. São levantos no referencial teórico aspectos técnicos de ambos serviços de rede social, principais propriedades, assim como seus usos e apropriações. Em um segundo momento, são trazidas questões pertinentes à esfera do cotidiano, como sua constituição e a relação do sujeito com o mundo. A seguir, tem-se a construção e a recepção de narrativas, que inclui uma breve abordagem das narrativas de si e da construção identitária na internet. A investigação empírica é desencadeada por meio de entrevistas semiestruturadas, em que, através da técnica da bola de neve, foram identificados e selecionados dez sujeitos que fazem uso intenso das Histórias. A partir da análise dos dados, evidencia-se cinco características básicas que permeiam toda a construção e o consumo de narrativas nas Histórias: o caráter cotidiano, a efemeridade, o aspecto imagético, o caráter dialógico e o entretenimento. Em termos gerais, processo de construção e consumo de narrativas nas Histórias tanto do Snapchat e do Instagram se dá em uma relação entrelaçada com a esfera cotidiana. Em função dessa relação e das características citadas, detectou-se um tensionamento entre o apelo à espontaneidade e a constante gestão de narrativas nas Histórias. / This dissertation aims to understand how the construction and consumption of ephemeral narratives of daily life occur on Snapchat and Instagram Stories. There are technical aspects of both social network services, main properties, as well as their uses and appropriations. In a second moment, pertinent questions are brought to the sphere of the quotidian, as its constitution and the relation of the subject with the world. Next, there is the construction and reception of narratives, which includes a brief approach to narratives of self and identity construction on the internet. The empirical investigation is triggered by means of semi-structured interviews, in which, through the technique of the snowball, ten subjects that make intensive use of the Stories are identified and selected. From the analysis of the data, five basic characteristics that permeate the construction and consumption of narratives in the Stories are revealed: daily character, ephemerality, imagery, dialogical character and entertainment. In general terms, the process of constructing and consuming narratives in both Snapchat and Instagram Stories take place in an intertwined relationship with the quotidian sphere. Due to this relationship and the mentioned characteristics, it finds a tension between the call to spontaneity and the constant management of narratives in the Stories.

Esta pesquisa propõe-se a estudar a apropriação do aplicativo Snapchat pelo Portal UOL para produção de conteúdo jornalístico. O foco está em observar as stories, que são narrativas criadas a partir de fragmentos de até 10 segundos que desaparecem após 24 horas, produzidas pelo perfil do UOL. Para isso, selecionamos as stories que foram produzidas sobre política e republicados no site TV UOL, totalizando 28 vídeos com 657 fragmentos, chamados de snaps. A análise empírica foi dividida em duas etapas: uma de caráter quantitativo, que busca observar a ocorrência de elementos previamente mapeados nos snaps; e outra qualitativa, cujo olhar recai sobre como esses snaps são estruturados para criar as stories. Como resultados, apontamos elementos frequentes, como o uso de snaps nativos e a preferência por vídeos frente a outros formatos multimídia, como fotos, textos e áudios. Também observamos que as stories não seguem um padrão e aliam formatos narrativos diferentes, como cobertura do local dos fatos, entrevistas e bastidores. / This research proposes to study the appropriation of the Snapchat application through the UOL Portal for the production of journalistic content. The focus is on watching stories, which are narratives created from fragments of up to 10 seconds that disappear after 24 hours, produced by the UOL profile. For that, we selected the stories that were produced on politics and republished on the site TV UOL, totaling 28 videos with 657 fragments, called snaps. The empirical analysis was divided in two stages: one of quantitative character, which seeks to observe the occurrence of previously mapped elements in the snaps; and another qualitative, whose look falls on how these snaps are structured to create the stories. As results, we point out frequent elements such as the use of native snaps and the preference for videos versus other multimedia formats such as photos, texts and audios. We also note that stories do not follow a pattern and link different narrative formats, such as spot coverage, interviews, and backstage.

A presente tese discute a efemeridade como aspecto constitutivo e motivador na obra de Cesário Verde, e como a apreensão da fugacidade, é um gesto de amor e de vontade de preservação dele. Utilizando a estética pareysoniana, as leituras a partir de tal hermenêutica querem revelar como a formatividade da obra mostra tal mundividência. / This thesis discusses ephemerality as a constitutive and motivating aspect in Cesário Verde\'s work, and as the apprehension of fugacity, it is a gesture of love and a desire to preserve it. Using Pareysonian aesthetics, the readings from such hermeneutics want to reveal how the formativity of the work shows such a worldview.

Made available in DSpace on 2016-03-15T19:42:00Z (GMT). No. of bitstreams: 1 Carla Ronchi Quaresma.pdf: 1529720 bytes, checksum: d392120502af1716ba6a6e896b9e7810 (MD5) Previous issue date: 2011-02-23 / The present study examines the approaches of concepts of package and image, and considering the impact technology that enable the reproduction of images in series packs-pointing the "use" or "ephemeral use" disposable images. Portrays a history of consumer packages in Brazil along with researchers dealing with concepts of design, communication and image search and the interrelationship of selected features. Highlights: "The world is coded" Flusser's (2007) as main support. Explains the human dependence front on manufacturing and use of packages. The issue is to identify aspects of communicative and intersubjective, and analyze it from the point of view of the perishable. Meanwhile faced then with Javacheff Christo and Jeanne-Claude and his famous "empaquetage‖. When you get a historical perspective of product package, it was decided to point and extract the main facts of its development in Brazil. It addresses the act of packing before the consumer society, in dialogue with Baudrillard and de Certeau studies that investigate the behavior of society towards the use of these types of images and representations. Recognizes the package as an image, given the saturation of current imagery. Faced with the term "imago" which was the second Debray mask molded from the face of a corpse and comes to Flusser and his theory on the codification of the world in which our attention the fact that we live in age of imagery and saturation arise two complex fields: the image and communication. The banality of the image in consumer society is seen in the works of Andy Warhol, critical to visual communication and ultimately Baitello Junior that inaugurates the term iconophagy that recalls the antropophagics rituals practiced by the Indians / O presente estudo aborda aproximações dos conceitos de embalagem e imagem e, considera os impactos tecnológicos que viabilizam a reprodução de embalagens-imagens em série apontando o ―uso‖ ou ―consumo efêmero‖ das imagens descartáveis. Retrata um histórico das embalagens de consumo no Brasil paralelamente com pesquisadores que abordam conceitos de design, comunicação e imagem e busca a interdisciplinaridade das características selecionadas. Destaque para ―O mundo codificado‖ de Flusser (2007) como principal suporte. Explana a dependência humana frente à fabricação e utilização de embalagens. A questão é identificar seus aspectos comunicativos e intersubjetivos, além de analisá-la sob o ponto de vista do perecível. Neste ínterim depara-se então com Christo Javacheff e Jeanne-Claude e seus famosos ―empaquetages‖. Ao se buscar uma perspectiva histórica das embalagens de produtos, optou-se em apontar e extrair os principais fatos da sua evolução no Brasil. Aborda o ato de embalar diante da sociedade de consumo, em diálogo com os estudos de Certeau e Baudrillard, que investigam o comportamento da sociedade frente ao uso desses tipos de imagens e representações. Reconhece a embalagem como imagem, diante da saturação imagética da atualidade. Depara-se com o termo ―imago‖, que segundo Debray era a máscara moldada a partir do rosto de um morto e chega-se a Flusser e sua teoria sobre a codificação do mundo, na qual nos chama a atenção o fato de vivermos na era da saturação imagética e surgem dois campos complexos: a imagem e a comunicação. A banalização da imagem na sociedade de consumo é observada nas obras de Andy Warhol, crítico à comunicação visual e por fim, Baitello Junior que inaugura o termo ICONOFAGIA que lembra os rituais antropofágicos praticados pelos índios

My degree project has been developed through my research on the topics of originality, consumption, vanitas and consumer culture. It referneces the politics of consumption, desire, pollution, waste, the passing of time, the effect of decay, and death. The scene is a reconstruction of a "still life" scene, referencing Baroque painting. The light-box installation comprises coloured sculptures which are emblems of consumerism. The hanmade and the organic are joined in composition, as if united in ruin and decay. The sculptures resemble the still life genre and allude to memento-mori. The project also addresses the industrial food system. It emphasises efficiency, profit and power in ways that are narrowly constructed, sometimes at the expense of other environmental and social values. It consist of a glass-cast modern cornucopia. The glass captures decomposing traces and makes them solid and everlasting. Even with something so fragile and temporary as life, the material can freeze it in time. The glass captures life.

There is a broad consensus in the art world that performance can be defined as an action that takes place within a certain time and space. There is also a theoretical debate in regard to documenting performance art. The position of the established paradigm on performance art documentation has been rebutted in practice on two fronts: that the very history of performance art is not consistent with constant disappearance; and regarding how performance art is treated in contemporary art museums. Performance art was eventually museified in the 1990s, completely adapting to the rules of the museum. The paper proposes a redefinition of performance that takes its materialization seriously: its ephemeral nature, the action and the co-presence of the public.

Retro art and technology have been on the rise in recent years, the phenomenon is fuelled by the nostalgia of a sense of authenticity that the offline world can no longer satisfy. The integration of technology into human’s social conduct has made it an extension of their beings. Faced with technological progress, people also yearn to regress to the age-old days of their childhood. Nostalgia often comes with romanticization of the past, but it also offers a sense of security and realness that is seemingly lost amid the constant exchange of data in the present time. This lays ground for the rise of faux-vintage photos on social application Instagram. Bracing itself as a modern digital media, Instagram capitalizes on nostalgia for the analog and fetishization of the retro aesthetics of old media. While researchers have noted the link between Instagram and digital nostalgia, these works remained within the theoretical realm. Using a combination of interface criticism and interview, the paper focuses on human and computer interaction to study digital nostalgia and mediated authenticity on Instagram. The findings point out the complexity of Instagram as a social network and a creative tool in the emerging age of pervasive computing, in which the technology increasingly integrates and fades into the background of our everyday lives. The paper’s intention is to develop further understanding of retromodern technology, particularly Instagram, in reconstructing our knowledge of society and everyday social conduct. A better comprehension of our digital culture is crucial to the development of the self and society.

Através da pesquisa de campo realizada nas festas de Corpus Christi da cidade de Matão/SP nos anos 2011 e 2012, são abordados os temas festa, imagem, cultura e sagrado. Especificamente focada na confecção dos tapetes, são observados e analisados seus processos e representações em aspectos individuais e coletivos. São inúmeros seus significados e interpretações se o percebemos em sua forma viva de seu lastro histórico até os dias atuais. Saliento a importância do registro desta manifestação cultural, pois através dele do estudo de suas imagens e significações buscamos um maior entendimento de como este evento acontece e de como é percebida e interiorizada pelo seu público / Through field research feasts of Corpus Christi city Matão / SP in the years 2011 and 2012 are discussed themes 'party', 'image', 'culture' and 'sacred'. Specifically in the manufacture of carpets, are observed and analyzed their processes and representations in individual and collective aspects. Countless their meanings and interpretations are realized in the form of its ballast living history to the present day. I note the importance of this cultural event registration, for through it - the study of images and their meanings - seek a greater understanding of how this event happens and how it is perceived and internalized by its audience

In contemporary debates on space, the validity of &amp / #8216 / physical space&amp / #8217 / as an indispensable category of human existence is widely questioned on the basis of the claim that the relevant interval of analysis has shifted from &amp / #8216 / space&amp / #8217 / to &amp / #8216 / time&amp / #8217 / , thanks to the technological innovations enabling the speed of present-day telecommunications. The apparent primacy of mobility of deterritorialized commodities, signs, meanings, and identities, in the contemporary society, adds new dimensions to the traumatic experience of ephemerality, in spatial and temporal categories. Through the claims declaring, the dissolution of the dichotomy between urban and rural, and redefinition of the relevant dichotomy between the &amp / #8216 / space of places&amp / #8217 / and the &amp / #8216 / space of flows&amp / #8217 / in recent theoretical efforts / we attempt to trace how the notion of &amp / #8216 / place&amp / #8217 / could be revalidated and reconstituted with reference to processes of contemporary globalization. The study examines the new paths for a constructive definition of &amp / #8216 / place&amp / #8217 / , which are opened up by the crisis in locating and representing temporal and spatial categories both physically and mentally.

The purpose of this thesis is to describe and analyse the visual expressions of Street Art that occurs in the public space, and by doing so, to study this specifi c practice, and also elucidate the relation between public space as a democratic idea, a place for freedom of speech and as a planned, aesthetically shaped place. The intention is to throw light upon a central part of many young peoples lives in a didactic aspect. In this thesis I discuss Street Art as an informal image making in public space that young people use as tools to make meaning, but also as a form of resistance. The methodologies used in the study are ethnography and visual ethnography, where observational studies of Street Art as practice, interviews and interpretation of photographs (my own, and my informants) are performed and analysed. Theoretically, the study has a didactic and semiotic approach but I also rely on Cultural Studies as a research fi eld in order to be able to pick up different kinds of theories. From three platforms; public space and public place and places for Street Art, aesthetic learning processes within this specifi c practice, and fi nally the expanded fi eld of Art and the similarities and differences between formal Art and Street Art I have outlined four themes; ephemerality, the criteria for Street Art practice, how the work is being done, as a collective and individual practice, the struggle of space in public space, and fi nally high and low in Art and culture. By describing and analysing this informal image making light is thrown upon the aesthetic learning process that occurs, the didactic aspect of this practice and the communication that the images articulate. As a result, the study shows that Street Art, in spite of its illegal mark, points out that it is an aesthetic production and a creative practice that consists of resistance, meaning making, achieving knowledge through practice, and above all a way to use the city, to become a part of the city. The thesis contributes with the suggestion that this informal aesthetic learning process is a way to form identity, make meaning, take part of public space, and through symbolic resistance demand ones rights of expression.