Ce travail de thèse questionne la place que les dispositifs numériques d'information et de communication occupent dans la reconfiguration de l'espace public (Habermas, 1991) contemporaine post-soviétique. Il étudie également l'émergence, l'inscription sociale et l'usage politique des espaces participatifs du web - tels que les blogs, les forums ou les réseaux sociaux, au sein de cette société. Aussi, nous explorons le processus de la médiation, tel qu'il s'exerce à l'extérieur de la médiatisation classique dans la sphère publique nationale post-soviétique. Après avoir appliqué les différentes méthodes d'analyse des réseaux (cartographie, entretiens semi-directifs, observation participative), nous pouvons constater qu'actuellement en Russie contemporaine nous observons l'éclatement de l'espace public unique et le retour au modèle de double espace public: officiel « dominant », constitué en grande partie des médias audio-visuels, la presse écrite nationale et des partis politiques institutionnalisés et l'espace « parallèle » constitué des « nouveaux » médias numériques (Kiriya, 2012). Ces tendances nous montrent la persistance des formes et des configurations de l'espace public dans la société malgré les changements économiques et sociaux. Dans le contexte post-soviétique, les « nouveaux » médias numérisés soutiennent à la fracture sociale et politique dans la société et épargnent l'espace public officiel des discours et des débats oppositionnels. En même temps, ces dispositifs contribuent à l'apparition des nouveaux acteurs des débats et de la production de l'information, et au maintien de la diversité des opinions. De ca fait, les dispositifs numériques de communication peuvent être insérés dans les espaces sociaux différents et d'accompagner les pratiques de libération et de domination en même temps. Notre travail montre que le déploiement des réseaux socionumériques et des médias numériques post-soviétiques participe aux évolutions plus générales de la société post-soviétique. Ils stabilisent et rendent visible la configuration des acteurs des espaces sociaux préexistants. L'étude de l'ancrage politique des réseaux socionumériques et des médias dans l'espace public officiel nous conduit à adopter une vision critique de la théorie « positiviste » des réseaux socionumériques en tant qu'outils de délibération et de débats argumentatifs. Ainsi, l'espace numérique post-soviétique est devenu une prolongation de l'espace public officiel de domination tout en assurant l'appropriation des discours étatiques propagandistes et leur pénétration dans l'espace privé. Ce travail montre que l'ancrage social (Miège, 2007) et politique de ces outils dans la société Russe est plutôt conservatif et ne contribue à la libération et démocratisation de la société. Bien au contraire – ces outils sont utilisés pour reproduire l'ordre politique dominant, diviser l'espace public etc. Les débats et les mobilisations sur le net ont faiblement contribué à l'émancipation et aux changements sociaux. Insérés dans les champs sociaux nationaux existants, ces médias numériques ont incité à la délibération et la maîtrise de la violence. En même temps, ils pouvaient être mobilisés par les acteurs dominants afin d'asseoir leur domination et leur violence. Dans le contexte post-soviétique, les technologies numériques ont contribué au déclin de la mobilisation politique d'opposition, renforçant l'isolement des acteurs politiques, exclus de l'espace public, et un contrôle social profitable aux autorités russes actuelles. L'expression « spontanée » de mouvements sociaux s'effectue selon les formes protestataires historiquement préexistantes (Bertrand Cabedoche, 2010) et notre étude du cas post-soviétique le confirme pleinement. / This PhD work questions the place of digital information and communication devices involved in the reconfiguration of the contemporary post-Soviet public sphere (Habermas, 1991). It also examines the emergence, social inclusion and the political use of web participatory spaces - such as blogs, forums and social networks, in this society. Also, we explore the process of mediation, as is carried outside the traditional media in the post-Soviet national public sphere. After applying the different analysis methods of networks (mapping, interviews, participant observation), we can conclude that in contemporary Russia we observe the return to dual model public space: Official "dominant" (consists largely of audio-visual media, papers; magazines, radio stations) and "parallel" (consists of the oppositional political parties, "new" digital media) (Kiriya, 2012). These trends confirm the persistence of forms and configurations of public space in society despite the social and economic changes. In the post-Soviet context, the "new" digital media support the social and political cleavage in. At the same time, these devices contribute to the appearance of new actors of debates and production of information, and the maintenance of the diversity of opinions. Thereby, digital communication devices can be inserted in different social spaces, accompany the liberation and domination practices at the same time. Our work shows that the deployment of digital networks and digital media accompanies the development of the post-Soviet society. They stabilize and make visible the configuration of preexisting actors in different social spaces. This study of political use of digital networks and media in the official public space lead us to adopt a critical view of the "positivist" perception of digital networks as tools of deliberation and argumentative discussions. Thus, the post-Soviet digital space has become a digital extension of the formal domination of public space while ensuring the appropriation of state propaganda speeches and their penetration into the private area. This work shows that the social use (Miège, 2007) and policy of these tools in Russian society is quite conservative and does not contribute to the liberation and democratization of society. Quite the contrary, these devices are used to reproduce the dominant political divide public space and so on. The debates and mobilizations on the Internet have slightly contributed to the emancipation and social change. Inserted into existing national social fields, these digital media has led to the deliberation and control of violence. At the same time, they could be mobilized by the dominant players in order to establish their domination and violence. In the post-Soviet context, digital technologies have contributed to the decline of the political opposition mobilization, reinforcing the isolation of political actors, excluded from the public space, and profitable social control for current Russian authorities. The "spontaneous" social movement is performed according to the historically pre-existing forms protesters (Cabedoche Bertrand, 2010) and our study of post-Soviet case fully confirms it.

Orientador: João Pedro Albino. / Banca: Maximiliano Martin Vicente / Banca: Sérgio Bairon Blanco Sant'Anna / Resumo: Os meios de comunicação digitais presenciaram a emergência das interfaces culturais a partir da última década do século XX. Fruto do desenvolvimento de pesquisa em ciência computacional, especificamente sobre a questão da interface gráfica de usuário e da interação homem-computador, bem como de um constante entrelaçamento das linguagens midiáticas com as formas expressivas da primeira metade do século citado, tiveram, com o surgimento da Internet e da World Wide Web, a tarefa de conectar o ser humano e a cultura elaborada pelo universo digital. Ao mesmo tempo a influência de recursos provenientes de meios consagrados em sua constituição, como a página retangular, o enquadramento, a perspectiva linear e a câmera subjetiva, imprimem-lhe um fator notadamente cultural, daí passarem a ser denominadas de interfaces culturais. Destacam-se dois formatos básicos pelos quais o processo comunicacional engendra interfaces: os mundos virtuais e as estruturas hipertextuais. Dentro dessa configuração de comunicação digital, a hipermídia torna-se um ambiente propício para a emergência de práticas e experimentações em novos meios, por isso enfatiza-se a formação do campo hipermidiático e uma proposta de análise da hipermídia. / Abstract: Graphic interfaces of user are intellectual technologies that came to existence during the 70þs and 80þs, resulting from the development of years of research in computers, specifically on the matter of information management and man-computer interaction. With the advent of the Internet and, especially the World Wide Web, the interfaces (of the browser and of the application) have connected human being and the culture elaborated by the digital universe. On the other hand, they receive influence of resources coming from prior means in its constitution, such as the rectangular page, the framing, the linear perspective and the subjective camera, which are reused by the design of interface in the creation of new means. With these factors they are then called cultural interfaces. Two basic formats, through which information is managed in interfaces in the digital culture, are highlighted: the virtual worlds and hypertext structures. Within that technological and cultural configuration, hypermedia becomes a favorable environment for the emergence of practices and experiments in new means, and therefore emphasizes the formation of the hypermedia field and a proposal of analysis of the hypermedia. / Mestre

In present diploma thesis called The Problem of Communication between Man and Machine in Contemporary Visual Culture I will analyse the movie by Spike Jonze called Her (2013), in which the topic of interconnection between Artificial Intelligence and real human world is presented. I will deal mostly with the themes of virtual reality and communication between man and computer. The thesis is divided into two parts. The first is based on the analysis of chosen theories of new media in order to reveal the theoretical foundation of the theme of interaction between the man (as human body) and machine (as computer); also I will analyse the development in the fiedl of AI to describe various forms of human-computer communication. The second part of the thesis is based on the case study/analysis of the movie Her, in which the theme of communication between human and computer is presented. In the first part of the thesis I will follows ideas of Lev Manovich, Marshall McLuhan, Pierre Lévy, Paul Virilio, John Searle, Jakub Macek and Mark B. N. Hansen. Keywords Machine, artificial intelligence, virtual reality, new media, computers, internet

Para os movimentos sociais, e principalmente o MST, o acesso ao poder, na sociedade atual, pode se dar pelo domínio de práticas discursivas possibilitadas por duas poderosas ferramentas: a língua inglesa e as novas tecnologias de comunicação. No entanto, ao usá-las, o MST coloca em xeque sua própria identidade, já que muitas vezes essas práticas discursivas estão relacionadas com seus adversários (ou seus Outros). O objetivo deste trabalho é analisar conflitos identitários no MST gerados pelo uso da língua inglesa e das novas tecnologias na articulação de uma resistência local e global a forças culturais, políticas e sociais hegemônicas, levando-se em consideração o contexto em que o movimento atua e no qual sua identidade é construída. Este trabalho se apoia sobre quatro temas principais: cultura, identidade, línguas e novas tecnologias. Cultura e identidade são conceitos dinâmicos e instáveis. Línguas e novas tecnologias não podem ser vistas como meras ferramentas. Elas desempenham um papel ativo na construção da identidade do sem-terra e estão estreitamente vinculadas à cultura. Portanto, uma ênfase nos conflitos pode ser útil para a promoção de reflexões e reconsiderações acerca dos conceitos de linguagem, cultura e identidade. Globalização e nacionalismo são temas que também recebem atenção considerável, já que o MST produz um forte discurso em favor das tradições culturais nacionais, o qual, por sua vez, está cada vez mais sendo contestado pela globalização econômica e cultural em processo atualmente. Narrativa, religião e ambientalismo são também aspectos analisados. A partir da pesquisa, foi possível concluir que conflitos e contradições, na ação ou na auto-representação, contribuem para intensificar a pluralidade do movimento e tanto refletem quanto definem as identidades dos sem-terra. A análise foi feita a partir de textos da página do MST na Internet e de boletins eletrônicos elaborados pelo movimento e por grupos a ele relacionados. Texto, neste caso, é entendido como sendo multimodal, de modo que imagens e outros modos de produção de significado foram também investigados. Foram analisados ainda textos impressos, retirados de suas publicações: Revista Sem Terra, de circulação bimestral, e Jornal Sem Terra, publicado mensalmente. Outras fontes também foram adotadas, como entrevistas com membros do movimento e um diário de campo elaborado a partir de visitas a assentamentos, secretarias e manifestações do MST. / Access to power in nowadays society can be gained through the control over discourse practices made possible by the use of two powerful tools: the English language and the new technologies of communication. That is true also for social movements around the world, especially the MST, Brazils Landless Workers Movement. However, by making use of these tools, the MST may jeopardize its own identity, since they are usually related to its opponents (or its Others). This work examines the identity conflicts stemming from MSTs use of English and new technologies in the articulation of local and global resistance against cultural, political and social hegemonic forces, taking into consideration the context in which the movement operates and in which its identity is constructed. It is based on four main themes: identity, culture, languages and new technologies. Culture and identity are everchanging concepts. Languages and new technologies cannot be seen as mere tools. They take an active role in the construction of the landless identity. Likewise, they are strictly tied to culture. Therefore, an emphasis on conflicts may be useful for the promotion of reflections and reconsiderations on the concepts of language, culture and identity. Globalisation and nationalism are themes that also received considerable attention, since the MST produces a strong discourse in favour of national culture and traditions, which, on the other hand, is gradually being challenged by the cultural and economic globalisation in course nowadays. Other aspects analysed in this work involve narrative, religion and ambientalism. The research concluded that conflicts and contradictions, in the actions as well as in the selfrepresentation of the landless, are useful for enhancing the plurality of the movement and they both reflect and shape the landless identity. The corpus is comprised of a selection of texts from the movements official website and from electronic bulletins and newsletters sent by the MST and other groups related to it. Text is understood here as being multimodal, so that images as well as other modes of meaning-making were examined. Printed texts were also analyzed, especially those from the MSTs publications: Revista Sem Terra, a bimonthly magazine, and Jornal Sem Terra, a monthly newspaper. Other sources were also adopted: interviews with members of the movement and a field diary based on visits to MST settlements, offices and demonstrations.

Orientador: Hermes Renato Hildebrand / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T16:52:45Z (GMT). No. of bitstreams: 1 Gregolin_MairaValencise_M.pdf: 1507341 bytes, checksum: 3057ea6b4fa5232ce4a2a5290fef0a20 (MD5) Previous issue date: 2009 / Resumo: O presente trabalho toma como objeto de estudos um novo tipo de mídia digital, denominada Machinima. Do inglês machine (máquina) e animation (animação), Machinima é, conceitualmente, tanto um filme feito a partir de jogo eletrônico, quanto um processo de produção. A hibridização de mídias presente na arquitetura do Machinima constitui um novo processo criativo propiciado pelas ferramentas da tecnologia digital. Ao mesmo tempo, o Machinima pode ser pensado como um novo tipo de produção fílmica que nasce dos sistemas híbridos e complexos que propiciam novas poéticas e que convergem para a estética da interatividade, da incorporação e da imersão, palavras-chave das produções culturais que estão buscando tornar visível a articulação dos sujeitos com as linguagens maquínicas, próprias do nosso tempo. Tendo como base estudos que analisam as transformações da sociedade pós-moderna, o aparecimento de novos produtos culturais que afetam em todos os sentidos a sociabilidade contemporânea, esta dissertação parte dos seguintes problemas de pesquisa: a) em termos de sua produção, como se dá a relação entre o Machinima e os gêneros que estão na sua base: jogo eletrônico/filme?; b) quais os efeitos da hibridização de gêneros e de técnicas na arquitetura do Machinima? c) quais deslocamentos a tecnologia digital do Machinima provoca na produção fílmica? Para responder a essas questões, analisamos as técnicas de produção e o funcionamento do Machinima. Selecionamos, para análise, a série de Machinimas denominada Red VS Blue e investigamos sua imersão na cultura da convergência de mídias, sua narratividade e as relações estabelecidas entre técnicas cinematográficas e de jogo eletrônico. Assim, a partir das características configuracionais e do funcionamento desse objeto que une jogo eletrônico, filme, e novas mídias, investigamos a articulação entre mídia e cultura nas transformações das sensiibilidades da sociedade contemporânea. / Abstract: This research investigates a new type of digital media: Machinima (the combining 'machine' and 'animation'), a new way of making films within a real-time virtual environment. Also, Machinima can be thought as a new product, which was born in the hybrid systems, providing new poetics and converging to the aesthetics of interactivity, incorporation and immersion - keywords which make visible the articulation of the subjects with the languages of the machine. Based on speeches that analyze the emergence of new cultural products that affect in every sense a contemporary sociability, this work part of the following questions: a) in terms of production, what is the relationship between Machinima and the genres that are in its base (electronic game / movie/animation)? b) which are the effects of hybridization of genres and techniques in the architecture of the Machinima? C) which are the changes that digital technology in Machinima provoke in filmic production? / Mestrado / Mestre em Multimeios

Esta pesquisa tem como objeto de estudo principal as manifestações do labirinto nos jogos eletrônicos, dando continuidade às nossas pesquisas sobre o labirinto e à nossa produção artística em novas mídias. As investigações realizadas se deram em duas frentes, sendo uma teórica, onde fizemos uma revisão da bibliografia sobre o labirinto, com a finalidade de termos os subsídios necessários para analisar a presença do labirinto nos jogos eletrônicos. Esta análise se deu em termos espaciais e temporais, tomando a forma de dois capítulos da dissertação, tendo o apoio de estudos na área dos jogos eletrônicos e de referências da literatura e do cinema. Já na frente artística, realizamos nove trabalhos, empregando mídias digitais, que se relacionam, de alguma forma, com a temática desta pesquisa. Apresentamos estes trabalhos ao longo da dissertação, dedicando um breve texto a cada um deles, onde apontamos o diálogo entre eles e os jogos eletrônicos, assim como com referências artísticas, literárias, cinematográficas e teóricas. / This research is concerned with the ocurrences of labyrinths in electronic games, continuing our studies related to labyrinths and our artistic work in new media. The work done comprises two parts; the first one theoretical, where we revised selected references about the labyrinth, aiming to collect elements to analyse the ocurrences of labyrinths in electronic games. This analysis was performed in spacial and temporal terms, comprising two chapters of this dissertation, with the support of studies related to electronic games and literary and cinematographical references. In the artistic part, we developed nine works, using digital media, that are related, somehow, with the subject of this reasearch. These works are introduced along the dissertation, with a short text about each one, where we evidence the dialog between them and electronic games, as well as with artistic, literary, cinematographical and theoretical references.

Made available in DSpace on 2014-07-29T15:22:34Z (GMT). No. of bitstreams: 1 dissertacao luiz alberto serenini prado.pdf: 327012 bytes, checksum: c7cb6ca14507069841de407ab9b20668 (MD5) Previous issue date: 2009-05-22 / This work analyses the path that has been delimited and illustrated by the terms "culture", "communication", and "consumption", considering their superposition through the ages and the influences caused over the society behavior. Since the origins of "culture" and its multiple meanings, the transit from the manuscript to the typographic man, until we get the worship of transience, presenteeism and globalization which are peculiarities of postmodernism, it is willed to verify, from the theoretical base point of view, how these phenomena have contributed for the formation of the identity in the general society and in the specific public, circumscript between childhood and adolescenc / Este trabalho analisa a trajetória demarcada e ilustrada pelos termos cultura , comunicação e consumo , considerando suas sobreposições através dos tempos e as influências causadas sobre o comportamento da sociedade. Desde os primórdios da cultura e seus múltiplos significados, a passagem do manuscrito ao homem tipográfico, até chegarmos ao culto da efemeridade, do presenteísmo e da globalização características da pósmodernidade, pretende-se verificar, do ponto de vista da fundamentação teórica, de que forma estes fenômenos contribuíram e contribuem para a formação da identidade na sociedade em geral e no público específico, circunscrito entre a infância e a adolescência.

Made available in DSpace on 2016-03-15T19:42:04Z (GMT). No. of bitstreams: 1 Roseli Conceicao de M R Demercian.pdf: 3830247 bytes, checksum: a7c0343de5bbfd7cc8f3a14ce97586af (MD5) Previous issue date: 2011-04-05 / The art/education serves as an important instrument of formal education and provides means and methods for achieving the ideal of interdisciplinary (or transdisciplinary). In this work, we try to point the relevance of art education in high school for the formation of a social consciousness, responsible for a transformation. The student and art/educator are in permanent contact with the body drawing his social information relevant to the reconstruction of the artistic work and providing knowledge of the art. Sought, thus establishing the relationship between new media and school and thus revisit the parameters of art education and assist in planning a study that has, in the Visual Arts, its axis. In short, a reflection on the complexity of teaching and learning in Art and relevance of the training of art educators to form a cultural awareness in Brazil. The new media may be used to carry out artistic activities in high school, giving the student a more efficient learning, caring and consistent with the realities / O objetivo geral desta dissertação é a aproximação das artes, das tecnologias e das ciências do ensino médio, através da interdisciplinaridade. E para alcançá-lo, escolheu-se como objeto de estudo as novas mídias. A arte/educação atua como um importante instrumento da educação formal e proporciona meios e métodos para a consecução do ideal da interdisciplinaridade (ou transdisciplinaridade). Procurou-se apontar a relevância da Arte/educação no Ensino Médio para a formação de uma consciência cidadã, responsável por uma ação transformadora. O aluno e o arte/educador estão em permanente contato com o corpo social dele extraindo informações importantes para a reconstrução do trabalho artístico e propiciando o conhecimento da arte. Estabelece-se, assim, a relação entre as novas mídias e a escola, para se rediscutir os parâmetros do ensino da arte e auxiliar em um planejamento de um estudo que tenha, nas Artes Visuais, seu eixo. Em suma, uma reflexão sobre a complexidade do processo de ensino-aprendizagem em Arte e a relevância da capacitação de arte/educadores para a formação de uma consciência cultural no Brasil. As novas mídias podem ser utilizadas para a realização de atividades artísticas no Ensino Médio, proporcionando ao estudante um aprendizado mais eficiente, interessado e coerente com a realidade vivida

Made available in DSpace on 2016-04-18T21:31:57Z (GMT). No. of bitstreams: 5 Tatiana Marigliani1.pdf: 351471 bytes, checksum: e2966c19677c07d22248a1b6d0b3dddd (MD5) Tatiana Marigliani2.pdf: 2425268 bytes, checksum: 785bbbf3b07d459f0fea6709b45b13d1 (MD5) Tatiana Marigliani3.pdf: 2178056 bytes, checksum: 12d6dc31911fe134c31a32483fbd60d8 (MD5) Tatiana Marigliani4.pdf: 2833569 bytes, checksum: f559ed0cd963958de3825f21a1d05ea6 (MD5) Tatiana Marigliani5.pdf: 145772 bytes, checksum: 662063dc4dbcd0262a1383e0266f8d94 (MD5) Previous issue date: 2009-04-17 / Fundo Mackenzie de Pesquisa / The purpose of this work is research the intellectual production that occurs in digital media, based on the analysis of a sample of websites, trying to understand the possibilities that were open to intellectuals with Internet and new technologies. In addition to new space for the publication of their productions, there is a new place for public debate and construction of ideas. The digital media offer a different territory for production and expression of contemporary thought. / O objetivo deste trabalho é pesquisar a produção intelectual que ocorre nas mídias digitais, partindo da análise de uma amostra de websites, na tentativa de compreender as possibilidades que foram abertas aos intelectuais com a Internet e as novas tecnologias. Além do novo espaço para publicação de suas produções, há um novo local público para debate e construção de idéias. As mídias digitais proporcionam um território diferenciado para a produção e expressão do pensamento contemporâneo.

This study analyzes young women’s descriptions and conceptualizations of cyberviolence and cyberbullying, including how they both challenge and reify mainstream cyberbullying discourses. The central themes analyzed include the way(s) in which self-representation in social networking sites are constrained through the limited options young women describe as being available for self-expression in these spaces, how notions of publicity, privacy and context-specific communication in social networking sites factor in girls’ descriptions of platform architecture, and how platform architecture often amplifies cyberviolence. Finally, the study unpacks the reasons that young women offer to explain why adults are often so out of touch when it comes to understanding cyberbullying and its relationship to young people’s digital culture. This dissertation contributes to cyberviolence studies, feminist new media, and girls’ digital culture studies, and has relevance for critical feminist criminology, by centring the voices of young women in order to investigate cyberviolence through participatory video with a sizable number of young women. The findings are based on data collected through eight participatory video workshops, two co-produced short documentaries and six focus groups with one hundred and twelve (N=112) participants in total under the larger umbrella study “Cyber & Sexual Violence: Helping Communities Respond” (2013-2016). This project was a community partnership between the Atwater Library and Computer Centre in Montreal and the TAG Lab at Concordia University, and was funded by Status of Women Canada. I employ an interdisciplinary theoretical framework that puts feminist new media studies, feminist approaches to online misogyny and girls’ digital culture studies into conversation with the extant literature on cyberbullying and cyberviolence. This theoretical approach is used to examine how the social norms in the discourse communities of social networking sites that girls outline in their descriptions of cyberviolence are structured through age-old misogynistic myths and impossible contradictions around femininity. Employing a participatory arts-based feminist lens allowed me to invite participants to share their perspectives in an accessible and fun way while examining their work through qualitative thematic analysis. Among the many findings this research produced, three key themes extend as threads that run throughout the dissertation. First, my participants did not relate to the term ‘cyberbullying’ in the way that adults often use it. While researchers and policy-makers continue to debate how to define cyberviolence and cyberbullying, participant responses illustrated the need for more dialogue around the toxic social norms and assumptions that currently structure young people’s digital culture, mainstream cyberbullying debates and anti-cyberbullying programming. Secondly, young women’s focus on issues of publicity versus privacy, anonymity, and peer surveillance highlights both the nuances that girls’ voices contribute to ongoing cyberbullying debates and how social networking sites amplify age-old double standards facing women and girls in visual culture and the public sphere. Finally, the themes of empathy and education that emerged from participants’ suggestions for strategies with which to address cyberviolence underscore the systemic changes that will be necessary in tackling the continually evolving and widespread phenomenon of cyberviolence. Participants conceptualize cyberviolence and cyberbullying as existing along a continuum of daily interactions in social networking sites that include encountering everything from mean jokes to sexual violence.