Submitted by Daniel marques (danielmarquescontato@gmail.com) on 2016-08-18T12:08:15Z No. of bitstreams: 1 _Dissertacao_DanielMarques.pdf: 10941912 bytes, checksum: 327d8d4fb97533c7c0209603a12ad878 (MD5) / Approved for entry into archive by Patricia Barroso (pbarroso@ufba.br) on 2016-08-18T20:18:49Z (GMT) No. of bitstreams: 1 _Dissertacao_DanielMarques.pdf: 10941912 bytes, checksum: 327d8d4fb97533c7c0209603a12ad878 (MD5) / Made available in DSpace on 2016-08-18T20:18:49Z (GMT). No. of bitstreams: 1 _Dissertacao_DanielMarques.pdf: 10941912 bytes, checksum: 327d8d4fb97533c7c0209603a12ad878 (MD5) / A presente pesquisa, a partir da análise do jogo móvel locativo Ingress enquanto objeto de estudo, toma como objetivo principal o mapeamento das novas perspectivas de manifestação de narratividade emergente a partir de produtos culturais mediados por software e novas mídias. Para tanto, a pesquisa parte para a investigação, através da revisão de literatura, do estado da arte da produção de narratividade na contemporaneidade, compreendendo esse processo enquanto uma atividade cognitiva – e criativa – inerente a condição humana. Nesse sentido, a pesquisa segue na compreensão de como se manifesta a narratividade emergente também nos games, enquanto ambientes de simulação, identificando as diferentes perspectivas que compõe um jogo enquanto ambiente procedimental capaz de veicular conteúdo narrativo além da sua codificação semiótica inicial. A pesquisa avança, a partir da apropriação inicial das teorias do campo da narrativa, para uma compreensão do cenário infocomunicacional contemporâneo, marcado pela presença dos fenômenos de softwarização e dataficação da cultura. Dessa forma, pode-se compreender de que forma a produção de produtos culturais assentados em software e coleta de dados pode apresentar novos caminhos e desafios para a produção narrativa, ainda através da revisão de literatura e levantamento bibliográfico. Tendo como base o aporte teórico levantado, o presente estudo propõe uma análise empírica e de caráter experimental do jogo móvel locativo Ingress, tendo como parâmetro uma matriz de análise desenvolvida especificamente para a questão. Constrói-se, portanto, um mapeamento das características principais do game enquanto software, ambiente de simulação e produto narrativo, buscando assim expor as relações e contaminações entre as estas diferentes camadas. O processo de análise culmina, portanto, na exposição de novas perspectivas para a emergência de narratividade, levando em consideração a abertura do sistema de simulação para o input de dados e performances diversas dos jogadores. / This research, based on the analysis of the mobile locative game Ingress, have as main objective mapping new prospects for emerging narrative behavior from cultural products mediated by software and new media. The research begins with a literature review, aiming to identify the state of the art of narrative production in contemporary times, understanding this process as a cognitive and creative activity inherent to the human condition. In this sense, the research follows to understand how emergent narrative manifests itself also in simulation environments, identifying the different perspectives that allows games, while procedural environments, to convey narrative content beyond its initial semiotic encoding. The research progresses, from the initial appropriation of the narrative field theories for a deeper comprehension of the contemporary informational scenario, marked by the presence of softwarization and datafication culture. Thus, one can understand how the production of cultural products seated in software and data collection can present new challenges for the narrative production. Based on the theoretical approach, this study offers an empirical and experimental analysis of the mobile locative game Ingress, based on an analysis matrix developed specifically for the issue. It helps, therefore, in mapping some of the major features of the game as software simulation environment and narrative product, thus seeking to explain the relations between the contamination of these different layers. The review process culminates in the exhibition of new prospects for the emergence of narrative, taking into account the opening of simulation system for the input data and various performances of the players.

Bibliographical Reference Hunek, F. (2019). The problems of visual content on social networks: An analysis of user filters implemented on Instagram. Prague, 2019. p. 123. Dissertation thesis (Ph.D.) Charles University in Prague, Faculty of Social Sciences, Institute of Communication Studies and Journalism. Lecturer: Doc. Mgr. et MgA. Filip Lab, Ph.D. Abstract In this dissertation, I am mainly focusing on photographic social network Instagram. It is the photograph that plays a crucial role in shaping the awareness of one's own identity and belonging to a community. Through photographs, on the one hand, we perceive the world and store our individual (Van Dijck, 2005) as well as our collective memory (Pink, 2011). On the other hand, photographs serve as a means of self-expression (Tinkler, 2008). Moreover, today's time is greatly fragmented, discontinuous, and episodic, which, on the other hand, leads human individuals to constantly legitimize themselves as unique and authentic individuals (Bauman, 2002). Furthermore, this constant communication via photographs requires a continual adaptation to the media messages, which puts an increased emphasis on visual communication as a field of social sciences, tightly connected to media studies. In short, the main goal of this dissertation is to introduce an analysis...

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-01T11:16:09Z No. of bitstreams: 1 marcioemiliodossantos.pdf: 6871193 bytes, checksum: 8a0527620a2551b270f5286e1886a43f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:59:55Z (GMT) No. of bitstreams: 1 marcioemiliodossantos.pdf: 6871193 bytes, checksum: 8a0527620a2551b270f5286e1886a43f (MD5) / Made available in DSpace on 2016-04-24T02:59:56Z (GMT). No. of bitstreams: 1 marcioemiliodossantos.pdf: 6871193 bytes, checksum: 8a0527620a2551b270f5286e1886a43f (MD5) Previous issue date: 2013-02-19 / Este trabalho analisa o uso de métodos e recursos computacionais como ferramenta para o pesquisador na área de Comunicação, principalmente em projetos de pesquisa que lidem com problemas passíveis de serem modelados computacionalmente através de algoritmos culturais. Destacamos que não se propõe uma substituição ou redução da participação humana na análise subjetiva de conteúdos, padrões e significados em prol de uma análise mais automatizada e quantitativa. Na estrutura deste trabalho contemplamos quatro capítulos que organizam aspectos teóricos, históricos, experiência práticas e resultados obtidos com a construção de uma visualização de uma grande coleção de dados. No primeiro capítulo, Digitalização e a linguagem da New Media, descrevemos o processo de digitalização tanto dos meios de produção quanto dos artefatos culturais ligados a Comunicação. Apresentamos a proposta de Manovich sobre o surgimento de uma nova mídia baseada nas características do software e seus aspectos digitais, como resultado deste processo de digitalização. No segundo capítulo, O que é visualização? Apresentamos um conjunto conceitual que define o que é a visualização, suas origens e proximidades com outras áreas como a visualização científica e aspectos teóricos, matemático e computacionais que baseiam esta linha de aplicação de métodos computacionais para analises culturais. O terceiro capítulo, Aplicação dos Conceitos de Visualização: VEJA DataVis., relata detalhadamente o processo de coleta da coleção de dados, organização, construção do algoritmo, aplicação e resultados apresentados na visualização de dados num hyperwall. O quarto e último capítulo, Análise de impactos da DataVis na percepção da Coleção de Dados VEJA, analisa como o processo e o resultado da aplicação da metodologia proposta por Manovich altera a percepção inicial da coleção de dados, destacando os aspectos de visualidade do contexto completo do conjunto de dados. / This paper analyzes the use of computational methods and resources as a tool for the researcher in the area of communication , particularly in research projects dealing with problems that can be modeled computationally through cultural algorithms . We emphasize that it is not proposed substitution or reduction of human involvement in the analysis of subjective content , patterns and meanings in favor of a more automated and quantitative analysis . In the structure of this work contemplate four chapters that organize theoretical , historical, practical experience and results obtained with the construction of a visualization of a large collection of data. In the first chapter , Scan and language of New Media , we describe the process of scanning both the means of production and of cultural artifacts linked to communication . Here is the proposed Manovich on the emergence of new media based on the characteristics of the software and its digital aspects , as a result of the scanning process. In the second chapter , What is visualization ? We present a conceptual framework that defines what is visualization , its origins and with other nearby areas such as scientific visualization and theoretical aspects , mathematical and computational basing this line of application of computational methods for cultural analysis . The third chapter , Application of Concepts View : . DataVis VIEW , describes the process of collecting the data collection , organization , construction of the algorithm , implementation and results presented in the visualization of data in a hyperwall detail . The fourth and final chapter, analysis of impacts on the perception of DataVis Collection SEE data, analyzes how the process and the result of applying the methodology proposed by Manovich change the initial perception of the data collection , emphasizing the visual aspects of the full context of dataset.

Human interaction with technical artifacts is often mediated by treating them as if they are alive. We exclaim "my car doesn't want to start," or "my computer loves to crash." Of increasing cultural importance are software systems designed explicitly to perform tasks and/or exhibit complex behaviors usually deemed as intentional human phenomena, including creating, improvising, and learning. Compared to the instrumental programs (e.g., Adobe Photoshop), these intentional systems (e.g., George Lewis' musical system Voyager) seem to produce output that is "about" certain things in the world rather than the mere execution of algorithmic rules. This dissertation investigates such phenomena with two central research questions: (1) How is system intentionality formed? and (2) What are the design implications for building systems that utilize such intentionality as an expressive resource. In the discourse of artificial intelligence (AI) practice, system intentionality is typically seen as a technical and ontological property of a computer program, emerging from its underlying algorithms and knowledge engineering. Distilling from the areas of hermeneutics, actor-network theory, cognitive semantics theory, and philosophy of mind, this dissertation proposes a humanistic and interpretive framework called the AI hermeneutic network. It accentuates that system intentionality is narrated and interpreted by its human creators and users in their socio-cultural settings. Special attention is paid to system authors' discursive strategies, a constitutive component of AI, embedded in their source code and technical literature. The utility of the framework is demonstrated by a close analytical reading of a full-scale AI system, Copycat. The theoretical discovery leads to new design strategies, namely scale of intentionality and agency play. They provide insights for using system intentionality and agency as expressive resources that can be used to convey meanings and express ideas. The fruits of these insights are illustrated by a stream of consciousness literature inspired interactive narrative project Memory, Reverie Machine, co-developed using Harrell's GRIOT system. It portrays a protagonist whose intentionality and agency vary dynamically in service of narrative needs.

This paper demonstrates the relevance of Vilém Flusser’s concept of post-industrial (programmed) apparatus in contemporary programmed media theory, as represented in the paper by software studies. Examples of software art projects that investigate the limits of apparatus programmability are introduced as examples of artistic gestures of freedom. The interpretation is supported by references to the general theory of gesture proposed by Flusser. The paper suggests that this new interpretative method, described by the author as a discipline for the ‘new people’ of the future can serve alongside software studies as an appropriate theory of software art, understood as gestures of freedom within the apparatus of programmed media.

This research looks at questions of power and expression as they are composed in various ways within networked and computationally-informed situations of the present. Drawing from the term as it is originally invoked in practices of computing, the research puts forward execution as a central conceptual framework for its investigations. In a computer program, a program becomes executable when it is able to execute a set of procedures within a designated set of relations and affordances. Similarly, the concept of execution developed here looks at the ongoing negotiations of various formative relations and affordances (technical, cultural, material, political) in practices of execution, describing certain notable techniques applied towards the task of making things executable. The examples looked at include several dominant media and technology practices of the present, as well as several alternative practices that point to other possible modes of execution. In doing so, the research highlights certain politically-orientated issues involved in questions of execution, working to further develop specific approaches aimed at describing, questioning and intervening into practices of execution as they occur in the world.

Cette recherche interroge les figures du sujet écoutant en jeu dans les mutations des espaces musicaux sur Internet de 2007 à 2014, afin de penser l’écoute en ligne dans ses spécificités philosophiques et communicationnelles. On étudie un dispositif industriel et logiciel de recherche et de recommandation musical complexe, l’interface de programmation d’ Echonest, pour en saisir les effets esthétiques, c’est-à-dire pour comprendre dans quelle mesure la culture numérique contemporaine façonne l’expérience musicale. Trois angles sont successivement abordés : une archéologie de l’écoute montre les héritages de son expérience en ligne, une étude des politiques de l’archive et de l’algorithme incite à penser les axiologies industrielles de machines du goût, enfin une analyse sémio-pragmatique met en exergue le régime fictionnel de l’écoute à l’écran. Face à l’émergence d’une forme médiatique, le streaming, ces trois temps décrivent un régime numérique contemporain de la perception (sensorium digital) comme une discipline de l’écoutable qui s’appuie sur des modes fictionnels de production de sens en ligne. / This research questions the figures of the listening subject in the context of the transformations of musical spaces on the Internet from 2007-2014, in order to consider the question of online listening from the perspective of the fields of philosophy and communications. I study the industrial and logical disposition (dispositif) of the API of The Echo Nest, a complex musical search and recommandation engine. I seek to grasp the aesthetic effects of this technoogy as a means of understanding the extent to which contemporary digital culture shapes musical experience. This is approached from three perspectives: an archeology of listening, which shows what is inherited in the online listening experience; a critical reading of the politics of digital archiving and algorithms,which incites us to think about the industrial axiologies of « machines of taste » ; and lastly, a semiotic-pragmatic analysis, which draws attention to the fictional modalities involved in mediated listening. With the emergence of music streaming as a new form of radio, this dissertation traces a contemporary regime of digitized perception (digital sensorium) that becomes a « discipline oflistenable » supported by the fictional mode of online production of meaning.