Nesta pesquisa procuramos investigar a animação japonesa como uma máquina para compreendermos como a copresença evolucionária de outros seres — técnicos e animais — potencializa outras compreensões sobre o humano. Com esse posicionamento, procuramos demonstrar como o humanismo, além de se constituir como um modelo filosófico, científico e civilizacional, também propôs uma visão estética sobre o humano. Para realizar uma abertura dessa herança, procuramos traçar uma genealogia do humano e dos objetos técnicos em correlação. A compreensão do anime como uma máquina parte da teoria de Thomas Lamarre, em conjunto com as teorizações de Gilbert Simondon, Félix Guattari e Gilles Deleuze. O viés da análise tem o pressuposto de que, se a construção da animação se dá por layers, ou camadas que misturam diferentes técnicas e perspectivas visuais, poderíamos dizer que elas revelam a suis generis de pensamento em ação na animação. O humano também é pensado como uma construção, assim a relação de explosão do humanismo e da implosão do antropocentrismo visa desterritorializar o humano nos seus componentes teóricos e poéticos. O surgimento da teoria pós-humanista foi inicialmente pavimentado graças à desterritorialização posta sobre o humano no pós-estruturalismo. Para aprofundar esse argumento partimos da herança em Nietzsche e Derrida até autores pós-humanistas como Donna Haraway, Cary Wolfe, Rosi Braidotti e Stefan Herbrechter. Após estabelecermos um panorama da animação de ficção científica no Japão, iremos nos debruçar na análise das animações Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) dirigida por Hideaki Anno e Ghost in the Shell: Innocence (2004) dirigida por Mamoru Oshii. De uma maneira geral a pesquisa foi dividida em três seções: pós-humanismo e techno-poética, máquina anímica e visões explosivas do humano. Na primeira, procuramos evidenciar uma genealogia do humano com atenção à sua coevolução e historicidade com os objetos técnicos, estabelecendo relações entre regimes de pensamento e estese. A segunda seção diz respeito às configurações da máquina anímica, suas relações com a tradição estética japonesa e com elementos da estética humanista, tal qual a perspectiva cartesiana. Procuramos demonstrar a existência de outros modelos visuais como uma abertura da heterogênese da máquina. A terceira seção é na qual iremos analisar as visões explosivas do humano na animação japonesa através das categorias analíticas propostas por Lamarre. Nossa hipótese é demonstrar como a máquina anímica poderia permitir uma heterogênese pós-humana através da dobra comunicacional do intervalo anímico. / In this research, we seek to investigate Japanese animation as a machine to understand how the evolutionary coo presence of other beings — technical and animal — enhances new understandings about the human. With this position, we try to demonstrate how humanism, besides constituting itself as a philosophical, scientific and civilizational model, also proposed an aesthetic vision about the human. To open this inheritance, we traced the genealogy of human and technical objects in correlation. The understanding of anime as a machine starts with the theory of Thomas Lamarre, together with the theorizations of Gilbert Simondon, Felix Guattari and Gilles Deleuze. Our analysis approach has the assumption that if the construction of the animation is made of layers that mix different techniques and visual perspectives, we could say that they reveal the suis generis of thought in action in the animation. We affirm that the human is a construction, so the relation of humanism explosion and the implosion of anthropocentrism aims to deterritorialize the human in its theoretical and techno-poetic components. The emergence of post-humanist theory has a debt to the deterritorialization put on the human in the post-structuralist theory. To deepen this argument we start from the inheritance in Nietzsche and Derrida to posthumanist authors like Donna Haraway, Cary Wolfe, Rosi Braidotti and Stefan Herbrechter. After we stablished an overview of science fiction animation in Japan, we will focus our analyses with the animations Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) directed by Hideaki Anno and Ghost in the Shell: Innocence (2004) directed by Mamoru Oshii. In general, the research was divided into three sections: posthumanism and techno-poetics, the animetic machine and explosive visions of the human. In the first, we try to show a genealogy of the human with attention to its coevolution and historicity with the technical objects, establishing relations between regimes of thought and aesthetic. The second section concerns the configurations of the animetic machine, its relations with the Japanese aesthetic tradition, and elements of humanistic aesthetics, such as the Cartesian perspective. We try to demonstrate the existence of other visual models as an opening of the heterogenesis of the animetic machine. The third section is where we will analyze the explosive visions of the human in Japanese animation through the analytical categories proposed by Lamarre. Our hypothesis is to demonstrate how the animetic machine could allow a post-human heterogenesis through the communication fold of the animetic interval.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Within debates and disputes about the stature of the human and its importance within the technical development we face the multiplicity of approaches revealed. Contrary views beckon both the extinction of humanity, and to overcome them. The meaning attributed to men and their actions in pursuit of steady improvement of its biological apparatus imply specific understandings about society and about the technique, because it appears as a decisive force in the construction of new social paradigms. So we launched into the understanding of this scene in the modern technique, with special attention to the question about man and his supposed imminent end as a result of technological development seeking common links to competing perspectives, as well as their differences. We present an exploratory overview of opposing views on the technical implementation of human possibilities within the context of the sociological study of man and technology. In this sense, the post-humanism is a route of criticism and renewal of important concepts located within this issue. / Dentro de debates e disputas sobre a estatura do humano e sua importância no seio do desenvolvimento técnico nos deparamos com a multiplicidade de abordagens reveladas. Concepções opostas acenam tanto para a extinção da humanidade, quanto para a sua superação. O significado atribuído aos homens e às suas ações em busca da melhoria progressiva de seu aparato biológico implicam em entendimentos específicos sobre a sociedade e sobre a técnica, pois esta aparece como força decisiva na construção de novos paradigmas sociais. Assim, nos lançamos rumo ao entendimento deste panorama dentro da modernidade técnica, dando atenção especial à questão sobre o homem e seu suposto fim eminente como consequência do desenvolvimento tecnológico buscando nexos comuns às perspectivas concorrentes, bem como suas diferenças. Apresentamos um panorama exploratório de visões antagônicas sobre as possibilidades humanas tecnicizadas dentro do contexto do estudo sociológico sobre o homem e a técnica. Neste sentido, a perspectiva póshumanista surge como uma via de crítica e de renovação de conceitos importantes situados dentro desta problemática.

This book, Quarry Stories - Architecture through Narrative Exploration, collects the process and proposals of our thesis, responding to the question: How can critical post-humanist philosophy, using stories as a tool, enhance our understanding of architecture and activate narratives in limestone quarries? We view the limestone quarries on Gotland as an example of humans’ relationship with nature: we take what we want and leave. Although significant for the industry, the quarries are troublesome from an ecological perspective. Rather than debating their existence or non-existence, we aim to explore their potential - what imaginaries can we envision for these sites?  We use the word ‘story’ to let narratives shape architecture, partially by writing stories for each quarry but also by including different narrative perspectives. We were curious to examine what architecture our entanglement with non-human actors can generate. We believe that stories can help us challenge our imagination and explore architecture from an alternative point of view.  While the outcome is three proposals for three different quarries on Gotland, we view the project as an exercise in exploring architecture through practical and artistic research. Here, narrative activation and critical post-humanist philosophy serve as an approach to architecture.

Esta pesquisa objetiva investigar, compreender e analisar como a tecnologia digital intervém na constituição do sentir contemporâneo, utilizando como objeto referencial as práticas sexuais realizadas por e nos ambientes digitais (sites, chats, redes sociais digitais, aplicativos etc.). Partimos de pressupostos teóricos que reconhecem a tecnologia como elemento constitutivo do humano e do social - inclusive no que diz respeito à dimensão sexual -, atribuindo-lhe, portanto, um papel central em diferentes momentos históricos. Deste modo, defendemos que o \"sexo virtual\" não se trataria de uma mera interação social mediada por dispositivos conectados à Internet, mas sim uma ecologia complexa composta, além das pessoas, por actantes não humanos com poder de agenciamento. Para alcançarmos uma argumentação coerente, adotamos um olhar genealógico para a análise de tal fenômeno, jogando luz sobre as especificidades do digital que, em nosso entendimento, ocasionariam deslocamentos perceptivos, espaço-temporais, socioculturais, identitários, subjetivos etc. apontando para um social (e um sexo) incontornavelmente conectado, hibridizado, mutante. Metodologicamente, conciliamos a leitura bibliográfica, a etnografia de cunho social e a etnografia digital imersiva, sendo esta última responsável por dar \"voz\" aos actantes não humanos contidos na experiência estudada, descoberta esta que inspirou uma construção tipológica para caracterizar os distintos processos comunicativos viabilizados pelo digital na atualidade. Nossa fundamentação teórica baseia-se em autores que defendem a tecnologia como constituinte e transformadora do sentir, que assumem as perspectivas do pós-humanismo e que reconhecem a intersecção entre tecnologia, sexo e sexualidade. / This research aims to investigate, understand and analyze how digital technology intervenes in the constitution of senses in contemporaneity, using as a reference object the sexual practices performed by and in digital architectures (websites, chatrooms, social networks and apps). We start with theoretical references that recognize technology as a constituent element of the humane and social - including the sexual dimension - and thus assign it as a central function in different historical moments. That way, we defend that \"virtual sex\" would not be a mere social interaction mediated by Internet-connected devices, but a complex ecology composed not only of people but also of non-human \"actants\" with agency power. In order to reach a coherent argument, we adopt a genealogical perspective to analyze this phenomenon, throwing light on the specificities of digital technology that, in our understanding, would cause displacements on perception and notions of space, time, social, culture, identity, subjective etc. pointing to a social (and sex) incontrovertibly connected, hybridized, mutant. Methodologically we reconcile bibliographical reading, social ethnography and immersive digital ethnography, the latter being responsible for giving \"voice\" to the non-human actants contained in the studied experience, a discovery that inspired a typological construction to characterize the different communicative processes made possible nowadays. Our theoretical foundation is based on authors who defend technology as a constituent and transforming of senses, who take on the perspectives of post-humanism and who recognize the intersection among technology, sex and sexuality.

Terry Tempest Williams, in Finding Beauty in a Broken World employs literary techniques that suggest dislocations and relocations of the human subject in ethical modes of being. Through narrative techniques, multidisciplinary language, and themes of conversation, gift-exchange, listening and response, Williams reflects ecological humanist mosaics, suggesting cooperative regeneration—an intersection of material beings facilitated by an ethical human imagination that listens, receives, and gives toward patterns of beauty, including, but not limited to, being human in a collective world. This eco-critical analysis of Williams’s work affirms the human being in post-humanist philosophy and repositions relational Romanticism for the 21st century.

Esta pesquisa objetiva investigar, compreender e analisar como a tecnologia digital intervém na constituição do sentir contemporâneo, utilizando como objeto referencial as práticas sexuais realizadas por e nos ambientes digitais (sites, chats, redes sociais digitais, aplicativos etc.). Partimos de pressupostos teóricos que reconhecem a tecnologia como elemento constitutivo do humano e do social - inclusive no que diz respeito à dimensão sexual -, atribuindo-lhe, portanto, um papel central em diferentes momentos históricos. Deste modo, defendemos que o \"sexo virtual\" não se trataria de uma mera interação social mediada por dispositivos conectados à Internet, mas sim uma ecologia complexa composta, além das pessoas, por actantes não humanos com poder de agenciamento. Para alcançarmos uma argumentação coerente, adotamos um olhar genealógico para a análise de tal fenômeno, jogando luz sobre as especificidades do digital que, em nosso entendimento, ocasionariam deslocamentos perceptivos, espaço-temporais, socioculturais, identitários, subjetivos etc. apontando para um social (e um sexo) incontornavelmente conectado, hibridizado, mutante. Metodologicamente, conciliamos a leitura bibliográfica, a etnografia de cunho social e a etnografia digital imersiva, sendo esta última responsável por dar \"voz\" aos actantes não humanos contidos na experiência estudada, descoberta esta que inspirou uma construção tipológica para caracterizar os distintos processos comunicativos viabilizados pelo digital na atualidade. Nossa fundamentação teórica baseia-se em autores que defendem a tecnologia como constituinte e transformadora do sentir, que assumem as perspectivas do pós-humanismo e que reconhecem a intersecção entre tecnologia, sexo e sexualidade. / This research aims to investigate, understand and analyze how digital technology intervenes in the constitution of senses in contemporaneity, using as a reference object the sexual practices performed by and in digital architectures (websites, chatrooms, social networks and apps). We start with theoretical references that recognize technology as a constituent element of the humane and social - including the sexual dimension - and thus assign it as a central function in different historical moments. That way, we defend that \"virtual sex\" would not be a mere social interaction mediated by Internet-connected devices, but a complex ecology composed not only of people but also of non-human \"actants\" with agency power. In order to reach a coherent argument, we adopt a genealogical perspective to analyze this phenomenon, throwing light on the specificities of digital technology that, in our understanding, would cause displacements on perception and notions of space, time, social, culture, identity, subjective etc. pointing to a social (and sex) incontrovertibly connected, hybridized, mutant. Methodologically we reconcile bibliographical reading, social ethnography and immersive digital ethnography, the latter being responsible for giving \"voice\" to the non-human actants contained in the studied experience, a discovery that inspired a typological construction to characterize the different communicative processes made possible nowadays. Our theoretical foundation is based on authors who defend technology as a constituent and transforming of senses, who take on the perspectives of post-humanism and who recognize the intersection among technology, sex and sexuality.

No description available.

The thesis is a meta-narrative discourse regarding the subversion in the representation of late capitalist realism. Through a post-humanist Marxist perspective, it connects three video game industry’s favorites with the ultimate question of capitalism: Cyberpunk 2077, Death Stranding, and Disco Elysium‪‬.‬‬‬‬‬‬‬‬ By looking through the unanimous retrospective paradigm, the thesis starts an exploratory journey analyzing the three games in terms of their narrative and mechanics lineages. Eventually, it wishes to reveal the possibility of genuine alternatives to our late capitalist reality from the late capitalist entertainment industry. By exposing the retrospective and inquisitive obsession of the three games, it reveals the underlying collective political trauma derived from the inability to defeat the late capitalist realism. While the analysis also leads to a potential solution that favors chance and randomness in order to disrupt the insatiable capitalist desire for the assimilation of originality.

No description available.

This thesis examines literary texts that represent encounters with model organisms in ways that enact an interspecies ethics that turns the narrative of bodily relationality embedded within the model organism into a source of care, friendship, respect, and mourning. My project understands model organisms as material beings as well as semiotic and narrative entities; I suggest that the very ‘materiality’ of the model organism’s body is symbolic precisely because it is designed to refer to bodies other than its own. The model organism involves a double relationality between the categories of ‘animal’ and ‘human’ because it serves as a mediator between human nature and nature at large. This is not to say that that human biology is not part of ‘nature’ but rather that anthropocentric and human exceptionalist ideologies pervade discourses of human biology and thus the model organism provides a link to our biological and corporeal ‘selves’ in a way that maintains species divisions. The texts I analyze throughout this dissertation offer alternative ways of thinking about the model organism by exposing the multiple meanings and narratives that coexist within them both as representations and as living sentient beings. This project centers around two questions: How do cultural texts represent and negotiate disconnects between how model organisms signify within scientific discourses and their broader cultural identities? How does literature specifically engage with scientific knowledge in ways that both disrupt and affirm the status of the model organism as a scientific object? / Thesis / Doctor of Philosophy (PhD)