Introduktion: Internet består idag av flertalet forum som var och en kan karaktäriseras som en internetkultur. Dessa forum inriktar sig till att antingen anonymisera sina användare för att utnyttja yttrandefrihetens maximala potential, eller icke-anonymitet där användare kan kopplas till personliga uppgifter tillgängliga till de som vistas på forumet. Allt fler svenskar väljer anonymiseringstjänster på grund av de digitala övervakningslagarna som har trätt i kraft under 2000-talet. Syftet: syftet med studien är explorativt, det vill säga att ta reda på hur så kallade lurkers, åskådare, uppfattar anonymitet på internet. Metod: för att samla empiri genomfördes kvalitativa intervjuer med sex stycken så kallade lurkers. Den empiriska datan analyserades med kvalitativ innehållsanalys. Resultat: de analyserade intervjuerna visar att internetkultur omfattar begreppet anonymitet. Anonymiteten utgörs av två kategorier (i.) beteende och (ii.) interaktion. Resultatet visar att internetkulturer utgörs av olika barriärer som bestämmer vad som är tillåtet genom regler och normer. Anonymt beteende beskriver hur man individuellt behandlar eller presenterar sig själv för andra, och anonym interaktion beskriver det samspel som skapas mellan två eller flera användare. Samt genom att ansluta sig till en anonym internetkultur få uttrycka sina äkta åsikter utan konsekvens. Analys: resultatet analyserades övergripande med hjälp av utvecklade dramaturgiska begrepp. / Introduction: Internet today consists of several forums, each of which can be characterized as an Internet culture. These forums focus to either anonymize its users to take advantage of the maximum potential of free speech, or non-anonymity, where users can be linked to personal information available to those who dwell on the forum. More and more Swedes are choosing anonymization because of the digital surveillance laws in force in the 2000s. The purpose: the purpose of this study is exploratory, that is, to find out how so-called lurkers, spectators, perceived anonymity on the Internet. Method: to collect empirical data qualitative interviews with six so-called lurkers was conducted. The empirical data were analyzed using qualitative content analysis. Result: the analyzed interviews show that the Internet culture embrace the concept of anonymity. Anonymity is composed of two categories (i.) behavior and (ii.) interaction. The results show that Internet culture is made up of different barriers that determine what is permitted by rules and standards. Anonymous behavior describes how an individual treats or presents himself to others, and anonymous interaction describes the interaction that is created between two or more users. By connecting to an anonymous Internet culture gives the individual the option to express their true opinions without consequence. Analysis: the results were analyzed generally by using developed dramaturgical concepts.

Made available in DSpace on 2015-05-07T15:08:43Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 15831141 bytes, checksum: fffe8e229229f888ebd708e6f2f3a2ba (MD5) Previous issue date: 2012-09-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main objective of this dissertation is to discuss the processes involved in the establishment of the Historical Museum of Campina Grande (Museu Histórico de Campina Grande, or MHCG) between the years of 1980 to 1983. It was in these years that occurred the promulgation of the law which enabled the creation of the Department of Cultural Heritage and the inauguration of the museum, which was one of the actions of the department. We seek to establish three conditions and possibilities which enabled the creation of the museum: the political-cultural demand which were established by the government organs of the historical heritage subsided by the National Pro-Memory Foundation (Fundação Nacional Pró-Memória Pró-Memória), a heritage action; the demand of a group of intellectuals, responsible for the Geografical and Historical Institute of Campina Grande, of maintaining the historical memory of the city; the forefront intellectual actions of William Ramos Tejo, responsible for the creation of the MHCG and director of the Department of Cultural Heritage in its initial years. Our objective is to determine the importance of each of these conditions in the museum project, which establishes the directives and possibilities of the museum actions. Based on these three conditions, we also seek to argue the discursive practice which opens way to establish the historical narrative which exists because of the expositions of the MHCG on the history of Campina Grande. Such discursive practice can also be seen as an educational action of the intellectual society on the acknowledgement the official memory. With this work, we seek to help on the recreation of the context of the patrimonial heritage actions of the city as it was enabled by the Department of Cultural Heritage in 1980. We emphasize the need of a historical argument on the places which promote the memory of the city, reconfiguring these based on the actions regarding the demands of the heritage action established by local agents. In summary, we compose a study which seeks to understand the implantation of such practices in a local level. / Este trabalho tem como objetivo discutir sobre o processo de produção do Museu Histórico de Campina Grande entre os anos de 1980 a 1983 que compreendem a Promulgação da Lei que possibilita a criação do Departamento de Patrimônio Cultural e a Inauguração do Museu, que corresponde a uma das ações do Departamento. Buscamos estabelecer três condições e possibilidades de criação do Museu: a Demanda Político-Cultural elaborada nos órgãos deliberativos do Patrimônio Histórico e consubstanciada na Fundação Nacional Pró-Memória; a Demanda Memorialista representada pelas tentativas por parte de um determinado grupo de intelectuais da criação do Instituto Histórico e Geográfico de Campina Grande e; o Protagonismo Intelectual de William Ramos Tejo, responsável pela criação do MHCG e diretor do Departamento de Patrimônio Cultural nos primeiros anos de sua criação. Buscamos trabalhar a forma como cada uma dessas condições foi importante para a definição do Projeto Museal que formata diretrizes e cria a possibilidade da ação museal. Procuramos também problematizar através destas três condições de existência do Museu a prática discursiva que abre caminho para o estabelecimento da narrativa histórica elaborada através da exposição do MHCG sobre a história da cidade de Campina Grande à época. Esta prática discursiva é também vista enquanto uma ação que busca educar para o reconhecimento da memória oficial, elaborada por indivíduos localizados numa sociabilidade intelectual e cultural interessada. Procuramos com este trabalho ajudar a recriar o contexto de entrada das Ações do Patrimônio Histórico na cidade, assim como a sua operacionalização através da criação do Departamento de Patrimônio Cultural em 1980. Com este propósito destacam-se a necessidade em historicizar os lugares que promovem a memória e reconfigurá-los a partir das ações empreendidas através de agentes localizados nos locais para onde são direcionadas as demandas de Ação do Patrimônio. Compondo desta forma, um estudo que busca compreender a implementação destas práticas em nível local.

My diploma work purpose is to frame and describe the development of some monuments of rural architecture in region {\clqq}Podšumaví``. In the first chapter I briefly open the main topic of the work. More detailed description of typical features of rural buildings is presented in next part, concentrated on specific area - the South Bohemia. In this range I aimed the focus especially on mikroregion {\clqq}Volyňsko`` and {\clqq}Vlachobřezsko``. Jakub Bursa, the bricklayer´s master, worked in this area in the second third of the 19th century and influenced on the final figure of local architecture. The principles of the bricklayer´s guild {--} J. Bursa was a member of it {--} are mentioned in the third chapter. Tha last and main part of this diploma work is presented by the state protected collection of rural architecture in the village {\clqq}Zechovice``. In this place we can understand the development of particular buildings in various moments of its history up to now (it depends on the fact, if the period documents are reachable). I also think about the possible, but not proved authorship of J. Bursa´s work in the case of some mentioned buildings. At the end of this part I remind the consequences of the state protection of buildings in the village.

Le courant des musiques industrielles, apparu au milieu des années 1970 et loin de s’en tenir à un phénomène d’expérimentation sonore, a produit en quelques années une culture visuelle globale croisant différents médias (graphisme, film, performance, vidéo), dans un dialogue étroit avec l’héritage de la modernité et sous l’emprise croissante des technologies. Ce phénomène britannique amorce un mouvement qui connaît un grand développement en Europe, aux États-Unis et au Japon durant les années 1980. Les expérimentations sonores déployées par les groupes industriels – élaboration de synthétiseurs, manipulation et transformation de sons enregistrés issus de bandes audio, recyclées ou conçues par les artistes – viennent enrichir un éventail de productions visuelles radicales, prenant ses sources dans les utopies modernistes de la première partie du XXe siècle. Cette thèse entend inscrire le projet visuel de la culture industrielle dans une histoire générale de l’art en analysant les différentes thématiques abordées par les principaux acteurs du mouvement. Dans la première partie, l’étude du contexte postindustriel de l’époque révèle combien ces performers intègrent à leurs œuvres une esthétique de la destruction par une appropriation des friches industrielles et urbaines comme nouveaux lieux de création. La deuxième partie envisage les « tactiques de choc » du genre industriel par le prisme du contrôle mental, de la criminalité, du totalitarisme et de la psychiatrie, avant de traiter d’un féminisme pro-sexe radical. Ces enjeux transitent vers un fort intérêt pour l’occultisme et le transhumanisme, faisant l’objet d’une troisième partie consacrée à la façon dont les artistes modifient leurs corps par des rituels magiques contemporains et par des expériences physiques confrontées aux nouvelles technologies qui renouvellent les protocoles habituels du domaine de la performance. / Industrial musics appeared in the mid-1970s, and far from sticking to a phenomenon of sound experimentation, produced in a few years a global visual culture operating at the intersection of a multitude of media (graphics, film, performance, video), in a close dialogue with the legacy of modernity and under the growing influence of technology. This British movement had a great development in Europe, the United States and Japan during the 1980s. The sound experiments deployed by the industrial bands – designing synthesizers, manipulate and transform sounds recorded from audio tapes, recycled or conceived by the artists – were supplemented by a rich array of radical visual productions, taking its sources in the modernist utopias of the first part of the 20th century. This thesis aims to include the visual project of industrial culture in a general history of contemporary art by analyzing the different topics tackled by the main actors of the movement. In the first part, the study of the postindustrial context of this period reveals how these performers integrate in their works an aesthetic of destruction through industrial and urban wastelands used as new places of creation. The second part examines the “shock tactics” of industrial music through mind control, crime, totalitarianism and psychiatry, before dealing with radical sex-positive feminism. These issues move towards a strong interest in occultism and transhumanism, studied in the third part, which is devoted to the body modifications of these artists through contemporary magic rituals and physical experiments confronted with new technologies that renew the usual protocols in performance art.