Made available in DSpace on 2016-07-27T14:21:21Z (GMT). No. of bitstreams: 1 WALTER FERREIRA LEMES.pdf: 1134672 bytes, checksum: e90d39e91d3fb987f483261b9d4fce7c (MD5) Previous issue date: 2006-08-24 / The current study is about the meaning of the beauty for a woman, in the counterpoint of cultural processes and through the psycho-social instances: family, job, and cultural industry, among others. It tries to find the meaning of beauty in the process of internalization, of subjective processes constituted from the rationality which founds and organizes the contemporary world. This study was carried out based on theoretical studies of Freud s psychoanalysis and in the authors of Critical Theory of Frankfurt School, among others, empirical searches, with interviews with women that were submitted to plastic aesthetic surgery. In the first chapter, it embraces the meaning of the beauty in its historicity and culture, concerning to the values of the essence and appearance. In the second chapter, it shows the individual inside the society, to understand his/her experience of the established values, objected and subjected in the external mediations. After all, it analyses the interviews of the participants, to reveal its subjections that come from the socio-historical-cultural mediations. One concludes that the meaning of beauty has its particular, singular and universal significations. / O presente estudo discute o sentido da beleza para a mulher, no contraponto dos processos culturais e a partir de instâncias psico-sociais: família, trabalho, indústria cultural, entre outras. Para tanto, busca o sentido da beleza no processo de internalização, de processos subjetivos constituídos a partir da racionalidade que funda e organiza o mundo contemporâneo. Foi realizado a partir de estudos teóricos fundamentados na Psicanálise de Freud e nos autores daquela que se convencionou chamar Teoria Crítica da Escola de Frankfurt, entre outros, e pesquisa empírica, com entrevistas com mulheres que se submeteram à experiência de cirurgia plástica estética. No primeiro capítulo, apreende o sentido da beleza em sua historicidade e cultura, quanto aos valores da essência e da aparência. No segundo, desnuda o indivíduo em sociedade, para apreender a sua experiência cotidiana dos valores estabelecidos, objetivados e subjetivados entre as mediações externas. Por fim, analisa as entrevistas das participantes, para revelar suas subjetivações oriundas das mediações sócio-históco-cultural. Conclui que o sentido da beleza tem suas significações particulares, singulares e universais.

Made available in DSpace on 2016-04-27T17:27:03Z (GMT). No. of bitstreams: 1 Luis Gustavo Casale.pdf: 816786 bytes, checksum: 902ccb6834263b7fa76f1f4871cfe47d (MD5) Previous issue date: 2012-10-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The practical and theoretical activity of Guy Debord is marked by a strategy of refusal and combat which he called spectacle. He made his life trajectory an incessant war against the society of his time, in which understood the advent of commodity occupying all aspects of life, human and social, and consequently making it the totalizing domain of quantitative, reducing it to a mere game of appearances. Thus, this dissertation seeks to understand the nature of Debord s theoretical-practice activity, in the avant-garde groups that he directed, through themes that permeated this groups activities and also his writings and films, deliberately chosen as a strategic means to attack and refute the illusions of the spectacular-mercantile-society. At the end of the dissertation is noted that the avant-garde conception and theory in Debord has the same meanings, both are temporary, they should be used as a practical-critique of the present time, in the opportune moment. It was observed also by analyzing the concept of separation that the commodity fetish and reification reach the paroxysm in the society of the spectacle, historic stage of capital reproduction in which social relations are mediated by images / A atividade prático-teórica de Guy Debord é marcada por uma estratégia de recusa e de combate ao que ele denominou espetáculo. Ele fez de sua trajetória de vida uma guerra incessante contra a sociedade de seu tempo, na qual compreendeu o advento da mercadoria ocupando todos os aspectos da vida, humana e social e, consequentemente, tornando-a objeto do domínio totalizante do quantitativo, reduzindo-a a um mero jogo de aparências. Destarte, esta dissertação busca compreender a natureza da atividade prático-teórica de Debord, nos grupos de vanguarda que dirigiu, através da análise de temas que permearam as atividades desses grupos e também seus escritos e filmes, deliberadamente usados como meio estratégico de atacar e refutar as ilusões da sociedade-espetacular-mercantil. Ao fim da dissertação nota-se que a concepção de vanguarda e de teoria em Debord possui os mesmos significados, ambas são passageiras, devem ser utilizadas, como crítica-prática do presente, na ocasião oportuna. Observou-se, também, através da análise do conceito de separação, que o fetiche da mercadoria e a reificação chegam ao paroxismo na sociedade do espetáculo, fase histórica de reprodução do capital em que as relações sociais são mediatizadas por imagens

Made available in DSpace on 2016-04-25T16:44:23Z (GMT). No. of bitstreams: 1 Stela Maris Milanez.pdf: 3406700 bytes, checksum: a814c62e48c7c67b6ceb11d9ec18b3ae (MD5) Previous issue date: 2011-10-11 / This dissertation aimed to increase awareness of the cultural meaning of consumer goods, centering the analysis on a research subject whose rituals of consumption and the emotional bond established with the marks are not unconventional. Supported by a method of ethnographic research, this study sought to understand the meaning of brands, particularly the Condensed Milk Girl in the life of the subject analyzed. In relation to the structure theory, first presented and explained the dynamics of consumer society so that they can understand consumer behavior derived by it. Then perform a theoretical review of the issue of cultural meanings of consumer goods, the movement model of meanings, making the connection between this theory and the research subject. In the second chapter was discussed on the brand concept, its expressiveness and its link with the senses. In the third chapter there was a need to study the Nestlé company, its history and rescued by analyzing the expression of the brand Miss, so exalted by the subject of this research. The last chapter was responsible for bringing the whole discussion of the results of research and analysis of the subject, were described and analyzed the rituals of consumption according to McCracken (2010) and how these were incorporated into the life of the study subject. The discussion about the materialization and fetishistic manifestation of emotional ties researched the subject with the brand were also found in this chapter. As a contribution to marketing, this work brings an addition to the research of cultural meanings of consumer goods and also about the rituals of consumption, because this issue needs further research and a theory. Finally, the study of this subject was an interesting example of ritual in our society, is also presented as an interesting area of study of Social Sciences / A presente dissertação teve como objetivo ampliar o conhecimento sobre o significado cultural dos bens de consumo, centralizando a análise em um sujeito de pesquisa cujos rituais de consumo e o vínculo emocional estabelecido com as marcas não são nada convencionais. Amparado por um método etnográfico de pesquisa, este trabalho buscou compreender a significação das marcas, em especial o Leite Condensado Moça na vida do sujeito analisado. Em relação à estrutura teórica, primeiramente apresento e explico a dinâmica da sociedade de consumo para que se possa compreender o comportamento consumista por ela derivado. Depois, realizo uma revisão teórica da temática dos significados culturais dos bens de consumo, do modelo de movimentação destes significados, realizando a ligação entre esta teoria com o sujeito da pesquisa. No segundo capítulo discutiu-se sobre o conceito de marca, suas expressividades e seu vínculo com os sentidos. Já no terceiro capítulo houve a necessidade estudar a empresa Nestlé, resgatando sua história e analisando as expressividades da marca Moça, tão exaltada pelo sujeito desta pesquisa. O último capítulo foi responsável por trazer toda a discussão dos resultados da pesquisa e análise do sujeito, foram descritos e analisados os rituais de consumo segundo McCracken (2010) e como estes foram incorporados na vida do sujeito do estudo. A discussão sobre a manifestação fetichista e a materialização dos vínculos emocionais do sujeito pesquisado com a marca também foram evidenciados nesse capítulo. Como contribuição para o marketing, esta dissertação traz um acréscimo às pesquisas de significados culturais dos bens de consumo e também acerca dos rituais de consumo, pois esta temática carece de pesquisas e de um aprofundamento teórico. Por fim, o estudo de tal sujeito foi um interessante exemplo de ritual na nossa sociedade, se apresentando também como um interessante espaço de estudo das Ciências Sociais

Since the late 1980s, there has been a steady production of Latin American narrative fiction in Spanish concerning China and the Chinese. Despite the work written about China and its relation to Latin America, no comprehensive examination of the representation of China in literature has been produced thus far. This thesis analyses nine novels in which China is the main theme, exploring how China has been represented in Latin American narrative fiction in recent decades. Using 'China' as a multidimensional term informed by Sara Ahmed's understanding of 'strangerness' (2000), this thesis first explores how the novels studied here both highlight and undermine assumptions about China that have long shaped Latin America's understanding of 'China'. Secondly, using theories of the fetish, it shows 'China' to be a kind of literary/imaginary 'third' term which reframes Latin American discourses of alterity. On one level, it is argued that these texts play with the way that 'China' stands in as a wandering signifier and as a metonym for Asia, a gesture that essentialises it as an unchanging other. On another level, it argues that the novels' employment of 'China' resists essentialist constructions of Latin American identity. 'China' is thus shown here to be a symbolic figure in Latin America, serving as a concept through which criticism of the construction of fetishised otherness becomes possible, as well as criticism of the exclusion inherent in essentialist discourses of identity, such as those contained in mestizaje. These discourses of mestizaje have traditionally emphasised racial and cultural mixture, and have excluded the Chinese from discourses of Latin American identity. As a result, 'China' is used here to deconstruct bound identities, interrupting discourses of otherness within Latin America. From this perspective, it is argued that these novels tend to gesture towards an understanding of identity as 'being-with', and community as inoperative, as developed by Jean-Luc Nancy (1991, 2000), whilst taking a cosmopolitan stance, as developed by Berthold Schoene (2011). The novels have been divided between those that set their stories in China, such as Cesar Aira's 'Una novela china' (1987); those that explore Chinese communities in Latin America, such as Ariel Magnus' 'Un chino en bicicleta' (2007); and those that focus on Latin American travel to China, such as Ximena Sanchez Echenique's 'El ombligo del dragon' (2007). Indebted to Ahmed's, Nancy's and Schoene's theoretical perspectives, Chapter 1 explores how 'China', as both a physical space and a discursive context, foregrounds negotiations of power in the histories of both China and Latin America. Chapter 2 studies how 'China' is used to recall and interrogate the notion of an indistinct 'oriental'. The final chapter seeks to understand the ways in which the novels articulate travel to China as a means of challenging Eurocentric structures and 'national' epistemologies. Ultimately, by disclosing the complex operations through which 'China' is represented in Latin American literary discourses, this study explores possible further reconfigurations of Latin American notions of identity and community as non-essentialist and in constant development.

Atypical sexual behavior is often viewed from a perspective of pathology and non-clinical samples are not typically used in research. The current exploratory research is a qualitative study that examined the etiological perspectives of Adult Baby/ Diaper Lover (ABDL) behavior from members of an online ABDL community. Archival survey data from an online sample (N = 1,795) of ABDL participants were used. The theories informing this research included attachment theory and the sexual health model. Research questions included an examination of: (a) what we can be learn from the way an ABDL individual perceives the origin of ABDL behavior, (b) differences in the way participants find their ABDL interests, and (c) the origin beliefs of participants from a community sample compare to the results from historical data. Thematic analysis was used to analyze the archival survey data, and grounded theory was used to forward a theory about the etiology of ABDL. Participants suggested that ABDL may not be the result of a mental health condition or a trauma history. The majority of participants believe their ABDL behaviors are connected to childhood experiences, which partially dovetails with current theories on the etiology of paraphilias. Although some participants believe ABDL behaviors are related to toilet training, most do not. Most participants endorse a wide range of explanations for their ABDL interests and behaviors. The environmental shaping theory of ABDL is based on data from this study and both supports and conflicts with historical research on paraphilia. This study contributes to positive social change by allowing clinicians and scholars the opportunity to hear the voices of a stigmatized group and understand them better. An increased awareness of sexual diversity can allow for greater acceptance and less stigmatization in the mental health and medical fields.

This study examines self-fashioning and the practice of collecting in Second Empire Paris as manifest in James Tissot's Jeunes femmes regardant des objets japonais (1869, Cincinnati Museum of Art). The painting, exhibited in the Salon of 1869, conspicuously portrays Tissot's own collection of exotic Asian collectibles and the artist's private luxe interior. When scholars investigate and interpret Jeunes femmes, it is regularly defined within the prescriptive realm of Tissot's later London paintings, or of his well known series, La Femme à Paris. I argue for a less circumspect engagement with the painting, by focusing on the portrayal of the collectible objects and the decadent interior as evidence of bourgeois self-fashioning and the decorous display and consumption concomitant with Second Empire Paris. This thesis considers the history of collecting in Second Empire Paris; in particular, the early impact of japonisme on Tissot's artwork. Recent scholarship largely regards Tissor's initial engagement with japonisme, as demonstrated by Japonaise au bain (1864, Muse des Beaux-Arts, Dijon) and Jeune femme tenant des objets japonais (1865, Private Collection), as trite. I argue that such categorizing biased sound consideration of Jeunes femmes. I investigate Tissot's interaction with Japanese aristocracy and contend that his appointment as drawing instructor to Prince Akitake marked a turning point in his artistic career and in his reputation as a collector. This thesis also explores the role of fetish as an operative analytical tool. By employing the theories of Freudian and Marxist fetish, I am able to scrutinize the collectible objects' inclusion and meticulous representation, account for the obsessive nature of the collector and investigate specific strategies of posturing and self-promotion. Moreover, I can discuss the painting, and the collection it portrays, as a producing agent for Tissot's own artistic and social legacy. Ultimately, I conclude that Jeunes femmes, a richly detailed painting of Tissot's collectibles and interior space, is implicitly concerned with bourgeois self-fashioning and Tissot's own need for financial and social legitimization.

Breast and penis augmentations are century old processes of body modification continuing in development and practice today. This Masters thesis is a content analysis of breast and penis augmentation print and internet advertisements to explore one facet of augmentation discourse presented in public space. Relevant theoretical literature includes fetish discourse and medical discourse as existing frameworks that conceptualize augmentation predominantly as a process of body fragmentation. After reviewing this literature, I expand to blend together perspectives from three body theorists, Maurice Merleau-Ponty, Michel Foucault and Judith Butler, as an alternate framework for embodiment. I then use content analysis to examine the data collected from 21 print sources and 27 internet sources. The data indicates fetish discourse, focusing on body fragmentation, is the dominant content in breast and penis augmentation advertisements; however, I argue in the conclusion that incorporating elements of embodiment into fetish discourse is a better perspective for future research.

The inhuman element in Djuna Barnes’s works has been widely acknowledged. So far the research has, however, concerned itself primarily with animality, thus neglecting the importance of things and thingliness in her texts. In this essay I outline a new way of approaching Barnes were things are taken into account as a vital element in her literary world, using theories on prostheses, fetishes and souvenirs. In Nightwood and four of the short stories, ”A Night Among the Horses”, ”Aller et Retour”, ”Cassation”, and ”The Grande Malade”, I examine clothing, interiors, collections, statues and dolls as objects that in different ways harbour meaning, dream, riddle, memory, history, longing and desire. The aim is not at translating these objects; my concern is not so much with what they mean, as how they mean; how they are used and thus how they interact with the characters.

Esta pesquisa aborda o tema da sensação e do fetiche na cultura da imagem a partir do chamado “capitalismo estético” e da omnipresença das tecnologias audiovisuais. O principal teórico em torno do qual se articula a abordagem é o filósofo alemão Christoph Türcke. A partir da leitura de duas de suas obras publicadas no Brasil: Sociedade excitada – filosofia da sensação e Filosofia do sonho (ambas de 2010) investigo hipóteses e, a partir delas, sustento a tese de que a constante exposição à irradiação audiovisual está provocando profundas transformações nas formas de sentir, pensar, imaginar e representar o mundo, ou seja, levando a um domínio da imaginação técnica sobre a humana, ao empobrecimento da linguagem e do pensamento. A singularidade do desejo e a capacidade de prestar atenção a “algo enquanto algo” é posta em questão nos processos de massificação social promovidos pela Indústria Cultural. Primeiramente apresento um recorte clínico de manifestações de mal-estar na contemporaneidade e mapeio alguns sintomas para analisar o que se manifesta (ainda de forma aparente) de concentrado e acumulado no corpo, na ação e na sensação, e que demanda uma abordagem mais profunda para ser descongestionado ou liberado. Seguindo as pistas da Teoria Crítica da Sociedade elaborada por Adorno e aprofundada por Türcke, construo um ensaio crítico à sociedade contemporânea em interface teórica com a psicanálise de Freud. O fenômeno da “compulsão a emitir”, do comercial ou da “propaganda de si” é explorado, bem como o que chamo de “solidão conectada”. Teço considerações sobre as primeiras imagens e as mudanças surgidas a partir de sua produção técnica, da fotografia ao cinema e às imagens de síntese, evidenciando a exploração sistemática dos sentidos humanos, do cérebro, dos nervos e dos músculos. Este percurso inicia considerando a sensação como paradigma da sociedade atual, analisa sua lógica, as mudanças semânticas e sociais do conceito desde o Renascimento, passando pela Revolução Industrial e pela microeletrônica indo até os dias atuais, com uma atenção especial à filosofia sensualista de Berkeley e a análise de sua fórmula: “ser é ser percebido”, estabelecendo com isto algumas mudanças na ontologia do ser social. Após, reconstruo em detalhes a Fisioteologia da Sensação, teoria onde Türcke descontroi a ideia de que a sensação ou o sensório humano é natural, e apresenta a hipótese de que estaríamos vivendo um “retorno ao fundamento”, à pré-história da sensação, ou seja, o encontro entre a alta tecnologia e o paleolítico, entre os choques audiovisuais e o susto primitivo – a partir do qual a compulsão à repetição foi aos poucos assimilando, abrandando e transformando-o no sensório especificamente humano -, e que estaria hoje dando passos de caranguejo. Por fim, no contexto de passagem ao mercado moderno que ocupou o lugar do Absoluto (do sagrado) trato o fenômeno do caráter fetichista da sensação, culminando numa associação entre o fenômeno do vício em imagens e drogas e o fundamentalismo religioso, ou seja, a crença num sentido que não mais se crê, e por isso precisa-se sempre mais e mais investir nele. / This research is about sensation and fetish in the culture of image in the so-called “aesthetic capitalism”, in which audiovisual technologies are omnipresent. The main theoretical point around which the research turns is the German philosopher Christoph Türcke. Based on a reading and analysis of two of his works published in Brazil – Excited society: philosophy of sensation, and Philosophy of dream (both in 2010) – I investigate some hypotheses, and, based on them, I claim that constant exposure to audiovisual irradiation is causing deed changes in the ways of feeling, thinking, imagining and representing the world; that is, leading to a domain of technical imagination of human beings, the impoverishment of language and thought. The singularity of desire and of the capacity to pay attention on “something as something” becomes an issue in the processes of social mass-production promoted by the Cultural Industry. First I present a clinical reading of manifestation of ill-being in contemporary society, and I map some symptoms and analyze manifestations (even if only apparent) of concentration and accumulation on the body, on action and on sensation, which demands a deeper approach so as to be decongested or liberated. Following the guidelines of the Critical Theory of Society set out by Adorno and further developed by Türcke, I construct a critical essay of contemporary society, in interface with Freud’s psychoanalysis. The phenomenon of a “drive to emit”, of commercial adds or “propaganda on itself” is explored, as well as what I call “connected solitude”. I draw some remarks on the first images and changes brought about by their technical production, in photography, cinema, and synthesis images, highlighting the systematic exploration of the human senses, brain, nerves, and muscles. The path begins with a consideration of sensation as a paradigm of our current society, analyzing its logic, semantic and social changes of the concept from Renaissance, Industrial Revolution and microelectronics through present day, paying special attention the sensualist philosophy of Berkeley and the analysis of his formula “to be is to be perceived”, establishing that with some changes in the ontology of social being. Then, I reconstruct in detail the Physioteology of Sensation, Türcke’s theory demonstration that sensation, or human sensory apparatus, is not natural, and present the hypothesis that we are living in a “return to the foundations”, to the pre-history of sensation, that is, a meeting of high technology and the Paleolithic, of audiovisual chocks and primitive dread – from which compulsion to repetition was slowly assimilated, mitigating and transforming it into the specifically human sensation – and which would today be crawling sideways. Last, in the context of a change towards modern market, which occupies the place of the Absolute (of the sacred), I address the phenomenon of the fetishistic nature of sensation, culminating with an association of the phenomenon of vice on images and drugs and religious fundamentalism, that is, the belief in a meaning in which one no longer believes, and for that reason needs to be invested on over and over again.

Esta pesquisa aborda o tema da sensação e do fetiche na cultura da imagem a partir do chamado “capitalismo estético” e da omnipresença das tecnologias audiovisuais. O principal teórico em torno do qual se articula a abordagem é o filósofo alemão Christoph Türcke. A partir da leitura de duas de suas obras publicadas no Brasil: Sociedade excitada – filosofia da sensação e Filosofia do sonho (ambas de 2010) investigo hipóteses e, a partir delas, sustento a tese de que a constante exposição à irradiação audiovisual está provocando profundas transformações nas formas de sentir, pensar, imaginar e representar o mundo, ou seja, levando a um domínio da imaginação técnica sobre a humana, ao empobrecimento da linguagem e do pensamento. A singularidade do desejo e a capacidade de prestar atenção a “algo enquanto algo” é posta em questão nos processos de massificação social promovidos pela Indústria Cultural. Primeiramente apresento um recorte clínico de manifestações de mal-estar na contemporaneidade e mapeio alguns sintomas para analisar o que se manifesta (ainda de forma aparente) de concentrado e acumulado no corpo, na ação e na sensação, e que demanda uma abordagem mais profunda para ser descongestionado ou liberado. Seguindo as pistas da Teoria Crítica da Sociedade elaborada por Adorno e aprofundada por Türcke, construo um ensaio crítico à sociedade contemporânea em interface teórica com a psicanálise de Freud. O fenômeno da “compulsão a emitir”, do comercial ou da “propaganda de si” é explorado, bem como o que chamo de “solidão conectada”. Teço considerações sobre as primeiras imagens e as mudanças surgidas a partir de sua produção técnica, da fotografia ao cinema e às imagens de síntese, evidenciando a exploração sistemática dos sentidos humanos, do cérebro, dos nervos e dos músculos. Este percurso inicia considerando a sensação como paradigma da sociedade atual, analisa sua lógica, as mudanças semânticas e sociais do conceito desde o Renascimento, passando pela Revolução Industrial e pela microeletrônica indo até os dias atuais, com uma atenção especial à filosofia sensualista de Berkeley e a análise de sua fórmula: “ser é ser percebido”, estabelecendo com isto algumas mudanças na ontologia do ser social. Após, reconstruo em detalhes a Fisioteologia da Sensação, teoria onde Türcke descontroi a ideia de que a sensação ou o sensório humano é natural, e apresenta a hipótese de que estaríamos vivendo um “retorno ao fundamento”, à pré-história da sensação, ou seja, o encontro entre a alta tecnologia e o paleolítico, entre os choques audiovisuais e o susto primitivo – a partir do qual a compulsão à repetição foi aos poucos assimilando, abrandando e transformando-o no sensório especificamente humano -, e que estaria hoje dando passos de caranguejo. Por fim, no contexto de passagem ao mercado moderno que ocupou o lugar do Absoluto (do sagrado) trato o fenômeno do caráter fetichista da sensação, culminando numa associação entre o fenômeno do vício em imagens e drogas e o fundamentalismo religioso, ou seja, a crença num sentido que não mais se crê, e por isso precisa-se sempre mais e mais investir nele. / This research is about sensation and fetish in the culture of image in the so-called “aesthetic capitalism”, in which audiovisual technologies are omnipresent. The main theoretical point around which the research turns is the German philosopher Christoph Türcke. Based on a reading and analysis of two of his works published in Brazil – Excited society: philosophy of sensation, and Philosophy of dream (both in 2010) – I investigate some hypotheses, and, based on them, I claim that constant exposure to audiovisual irradiation is causing deed changes in the ways of feeling, thinking, imagining and representing the world; that is, leading to a domain of technical imagination of human beings, the impoverishment of language and thought. The singularity of desire and of the capacity to pay attention on “something as something” becomes an issue in the processes of social mass-production promoted by the Cultural Industry. First I present a clinical reading of manifestation of ill-being in contemporary society, and I map some symptoms and analyze manifestations (even if only apparent) of concentration and accumulation on the body, on action and on sensation, which demands a deeper approach so as to be decongested or liberated. Following the guidelines of the Critical Theory of Society set out by Adorno and further developed by Türcke, I construct a critical essay of contemporary society, in interface with Freud’s psychoanalysis. The phenomenon of a “drive to emit”, of commercial adds or “propaganda on itself” is explored, as well as what I call “connected solitude”. I draw some remarks on the first images and changes brought about by their technical production, in photography, cinema, and synthesis images, highlighting the systematic exploration of the human senses, brain, nerves, and muscles. The path begins with a consideration of sensation as a paradigm of our current society, analyzing its logic, semantic and social changes of the concept from Renaissance, Industrial Revolution and microelectronics through present day, paying special attention the sensualist philosophy of Berkeley and the analysis of his formula “to be is to be perceived”, establishing that with some changes in the ontology of social being. Then, I reconstruct in detail the Physioteology of Sensation, Türcke’s theory demonstration that sensation, or human sensory apparatus, is not natural, and present the hypothesis that we are living in a “return to the foundations”, to the pre-history of sensation, that is, a meeting of high technology and the Paleolithic, of audiovisual chocks and primitive dread – from which compulsion to repetition was slowly assimilated, mitigating and transforming it into the specifically human sensation – and which would today be crawling sideways. Last, in the context of a change towards modern market, which occupies the place of the Absolute (of the sacred), I address the phenomenon of the fetishistic nature of sensation, culminating with an association of the phenomenon of vice on images and drugs and religious fundamentalism, that is, the belief in a meaning in which one no longer believes, and for that reason needs to be invested on over and over again.