Made available in DSpace on 2016-04-26T18:17:57Z (GMT). No. of bitstreams: 1 Ana Carolina da Cunha.pdf: 999430 bytes, checksum: 04828c376e3f4f5a3c79333cb1ca6102 (MD5) Previous issue date: 2009-05-11 / Secretaria da Educação do Estado de São Paulo / This research has as main objective the analysis of projects 2 and Karlskrona Superchannel of collective Superflex, Denmark, and projects Frivolity and Folly and Fripperies and Trimmings, of the group De Geuzen, the Netherlands, in the light of the theory of relational aesthetics of Nicolas Bourriaud. From the 1990s, Bourriaud set the parameters for contemporary artistic production that is based on and is embodied from social exchanges. Given this theoretical framework, the relevance of the research lies in the fact that focus on productions that use digital cyberspace and language as means of dissemination and transmission of artistic proposals - language and tools then viewed with reservation by Bourriaud. The problem of research, ultimately theoretical, lies precisely in this tension between the internal relational aesthetics of the French philosopher and the chosen corpus. Established relational groups, such as De Geuzen and Superflex, advocate the use of technological devices and declare that, in some art propositions, technology and the Internet facilitate and potentialize objectives of social exchange. Both groups focus more on the network relations provided by the Internet than the technology it encloses. They both make use of the digital language as relational/communicational tools. Thus, it is clear that, unlike what Bourriaud thought, it is not the fact that these groups use the technology that they lose their relational character. For the demonstration of this reflexive perspective, this work has considered alongside the research, the theories of Lemos, Lovejoy, Lévy, Trivinho, Virilio and Baudrillard on cyberculture, and the reflections of Musso, Parente, Prado, and Miltrop Latour, among others, on the networks. The theory of society as a network, designed by Castells and for which contributed Mafessoli, had significant importance in this research. Other important findings were made by direct research on the groups websites and through personal analysis of their works and access to documents submitted by them in symposia and electronic publications. In addition to the corpus of the study, art expressions that use technology and social exchange, as the foundation of production, were also presented, such as the propositions of tactical media and locative media as well as experiments in social networks / A presente pesquisa tem como principal objetivo a análise dos projetos Karlskrona 2 e Superchannel, do coletivo Superflex, da Dinamarca, e os projetos Frivolity and Folly e Fripperies and Trimmings, do grupo De Geuzen, da Holanda, à luz da teoria da estética relacional de Nicolas Bourriaud. A partir dos anos 1990, Bourriaud estabeleceu parâmetros para a produção artística contemporânea que se calcava nas e se corporificava a partir das trocas sociais. Dado esse referencial teórico, a relevância da pesquisa reside no fato de centrar-se em produções que utilizam o ciberespaço e a linguagem digital como meios de divulgação e transmissão de propostas artísticas ferramentas e linguagem até então vistas com ressalva por Bourriaud. O problema da pesquisa, teórico em última análise, reside justamente nessa tensão interna entre a estética relacional do filósofo francês e o corpus escolhido. Grupos relacionais consagrados, como o De Geuzen e o Superflex, defendem o uso dos aparatos tecnológicos e declaram que, em algumas propostas artísticas, a tecnologia e a internet facilitam e potencializam objetivos de intercâmbio social. Ambos os grupos focam mais as relações em rede que a internet proporciona do que as tecnologias que ela encerra. Utilizam as linguagens digitais como ferramentas relacional-comunicacionais. Dessa forma, fica claro que, diferentemente do que pensava Bourriaud, não é pelo fato de esses grupos utilizarem a tecnologia que eles perdem o seu caráter relacional. Para a demonstração dessa perspectiva reflexiva, foram consideradas, durante a pesquisa, as teorias de Lemos, Lovejoy, Lévy, Trivinho, Virílio e Baudrillard sobre a cibercultura, bem como as reflexões de Musso, Parente, Prado, Latour e Miltrop, entre outros, a respeito das redes. A teoria da sociedade em rede, concebida por Castells e para a qual contribuiu Mafessoli, teve importância relevante no trabalho. Outras constatações importantes foram realizadas mediante pesquisa direta em páginas eletrônicas dos grupos, bem como por meio de análise pessoal das obras e de acesso a documentos apresentados pelos grupos em simpósios e publicações eletrônicas. Em complementação ao corpus do estudo, manifestações artísticas que utilizam, como base fundamental de produção, a tecnologia e as trocas sociais também foram apresentadas, como, por exemplo, as propostas de mídia tática e mídia locativa e as experimentações em redes sociais

When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost? In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine. For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.

The topic of this diploma thesis is the development and transformation of a collage which overlaps to non-traditional expression means and art techniques. The theoretical part deals with the change of a collage and its peripetials. It presents reflections on what still can be considered a collage, not only in terms of techniques with collages closely related (eg, assemblages, de-collage), but mainly in terms of the individual principles that allow to grasp collage as a concept and to observe it in various domains. The issue of a collage, examined in the theoretical part, is transformed into a thematic serie, which is presented in the form of didactic structures that were implemented in school practice and reflected by the teachers. The artistic part depicts an author's project using one of the presented collage principles - joining of individual components into the resulting whole. The project, among other things, deals with the question of whether it is possible to construct an identity of a certain place using visual records of different participants separate pages of the book. Key words: collage, assemblage, de-collage, montage, crumple technique, technique of stratification, cumulation, art object, installation, concept, body art, digital collage, net art, art education

In 1987, computer programmer and linguist Larry Wall authored the general-purpose, high-level, interpreted, dynamic Unix scripting language, Perl. Borrowing features from C and awk, Perl was originally intended as a scripting language for text-processing. However, with the rising popularity of the Internet and the advent of Tim Berners-Lee’s World Wide Web (Web), in the 1990s, Perl soon became the glue-language for the Internet, due in large part to its relationship to the Hypertext Transfer Protocol (HTTP) and the Common Gateway Interface (CGI). Perl was the go-to language for on the fly program writing and coding, gaining accolades from the likes of publisher Tim O’Reilly and hackers alike. Perl became a favorite language of amateur Web users, whom net artist Olia Lialina calls barbarians, or the indigenous. These users authored everything from database scripts to social spaces like chatrooms and bulletin boards. Perl, while largely ignored today, played a fundamental role in facilitating those social spaces and interactions of Web 1.0, or what I refer to as a Perl-net. Thus, Perl informed today’s more ubiquitous digital culture, referred to as Web 2.0, and the social web. This project examines Perl’s origin which is predicated on postmodern theories, such as deconstructionism and multiculturalism. Perl’s formal features are differentiated from those of others, like Java. In order to defend Perl’s status as an inherently cultural online tool, this project also analyzes many instances of cultural artifacts: script programs, chatrooms, code poetry, webpages, and net art. This cultural analysis is guided by the work of contemporary media archaeologists: Lialina and Dragan Espenschied, Erkki Huhtamo and Jussi Parikka. Lastly, the present state of digital culture is analyzed in an effort to re-consider the Perl scripting language as a relevant, critical computer language, capable of aiding in deprogramming the contemporary user.

Im interested in the topic of praying machine, because I want to analyze aspects of photography and its functions. It's known, that the reality is manipulated by photography. Bud we can also say, that the relationship between reality and photography is neutral in fact, that the manipulation is made by our interpretation of photography. The change of the reality can be realized just in the dialog between photography and reality. Can it be, that the mechanization change into the will? Does it prays praying mill or the buddhistic monk, who rotates the mill? When he believes into it, is it enough? Or is it enough if believes who watch the monk with his mill? ... The computers from he place A are "praying" the prayers from the place B. With Tomáš Javůrek we collaborated with Vladimír Veselý and Radek Lát to create the Game for re-articulation our reality on the base of the revision of our faith.