This research presents empirical work which grounds the discourses of socially inclusive 'communities' in a 'global information society'. The empirical work focuses on a specific group of young people aged 11 to 25 living in one of the most ethnically diverse and poorest boroughs of London, Newham. The thesis explores the ways in which the group construct their 'online' community (Newham Young People Online) and how their identities as young people are re-produced through the interplay between their everyday and their technocultural lifeworlds. Key to the work is how the group is using and shaping ICTs and cyberspace(s), which are central to a 'global information society', in different ways: to explore creativity, to find diverse ways of self-expression, to understand 'difference' and to discover other spaces of learning and education against a background of social exclusion.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-06-06T13:22:38Z No. of bitstreams: 1 Larissa Almeida de la Rue_.pdf: 2169576 bytes, checksum: fb5bc4af5e06e38c444be3a0127d9515 (MD5) / Made available in DSpace on 2017-06-06T13:22:38Z (GMT). No. of bitstreams: 1 Larissa Almeida de la Rue_.pdf: 2169576 bytes, checksum: fb5bc4af5e06e38c444be3a0127d9515 (MD5) Previous issue date: 2017-03-27 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A referente pesquisa estuda a atualização do audiovisual colaborativo na produtora aberta e colaborativa, hitRECord. O audiovisual colaborativo é compreendido aqui a partir de Bergson (2005) e Deleuze (2004) como um misto de virtual e atual, isto é, ele se atualiza nas mídias e fora delas e fica em devir com possibilidades de inúmeras novas atualizações. No contexto da tecnocultura, o audiovisual colaborativo é pensado como um construto ou ethicidade (KILPP, 2010) construído técnica, estética e ethicamente. Através da Metodologia das Molduras, o trabalho se volta para a dissecação das interfaces (imagens técnicas) do site da hitRECord para encontrar as principais molduras, ethicidades e imaginários. Como último passo, retornamos as imagens mais tensas, os sentidos mais contraditórios nas molduras e ethicidades, elaborando uma constelação de imagens dialéticas (BENJAMIN, 2006). Para nos ajudar a entender melhor a forma de produção da hitRECord que é tão calcada no remix, buscamos como principal aporte teórico Lev Manovich (2013) e seu conceito de remixabilidade profunda. / This thesis addresses the update of the collaborative audiovisual in hitRECord, an open and collaborative production company. The collaborative audiovisual is understood here from the perspective of Bergson (2005) and Deleuze (2004) as a mix of virtual and current. It is an updated in the media and out of it and it has possibilities of numerous new updates. In the context of technoculture, the collaborative audiovisual is thought of as a construct or ethicidade (KILPP, 2010) constructed technically, aesthetically and ethically. Through the Metodologia das Molduras this work turns to the dissection of interfaces (technical images) of hitRECord’s website to find the main molduras, ethicidades and imaginaries. As a last step, we return to the tensest images, the most contradictory meanings in the molduras and ethicidades, elaborating a constellation of dialectical images (BENJAMIN, 2006). To help us better understand the way of production of hitRECord, that is based on remix, we searched in Lev Manovich (2013) and his concept of deep remixability for the main theoretical contribution.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-10-04T16:43:22Z No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 22044309 bytes, checksum: a400db222c1e8a60595c5013cebae77e (MD5) / Made available in DSpace on 2017-10-04T16:43:22Z (GMT). No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 22044309 bytes, checksum: a400db222c1e8a60595c5013cebae77e (MD5) Previous issue date: 2017-06-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese versa sobre a natureza do devir-rosto nos processos midiáticos e suas reverberações na tecnocultura sob o prisma das audiovisualidades. A partir da discussão de uma qualidade comunicacional virtual que se atualiza em imagens de rostos - ou algo que se põe no lugar do rosto -, que dura no tempo e conserva na memória toda potencialidade daquilo que se reconhece como singular, busca-se construir a ideia de rosticidade. A proposta foi fundamentada nas bases epistemológicas e nos princípios teórico-metodológicos encontrados no pensamento de Bergson, especialmente nos conceitos de duração, memória, percepção, consciência e imagem. Fundamentais também foram as expropriações dos conceitos de Benjamin, Deleuze, Canevacci, Balázs e Benso, que se dedicaram ao rosto enquanto imagem especial que norteia experiências sensoriais e memoriais. A produção do corpus seguiu dois procedimentos metodológicos que se sucederam: 1) constituição do universo da pesquisa na observação de marcas da rosticidade manifestadas em uma pluralidade de tecnoimagens que circulam pelas mídias, além de objetos não reconhecidamente midiáticos; 2) um recorte progressivo da galáxia da pesquisa formada por meio da cartografia das fisionômicas da National Geographic (enquanto dispositivo midiático), com especial atenção às imagens-rosto da National Geographic Magazine e, mais especificamente, às transformações do rosto da revista através dos movimentos do design das capas. Questiona-se: como e o que a rosticidade da National Geographic comunica sobre a rosticidade da tecnocultura? Ou ainda, mais especificamente: O que e como a capa da National Geographic, tomada como rosto, comunica sobre a revista, sobre o dispositivo midiático e sobre a rosticidade enquanto qualidade da tecnocultura? Para oferecer soluções, desenvolve-se um método que vai se estabelecendo no próprio andamento de investigação. Parte-se da invenção [sic] do problema através da intuição bergsoniana, para posteriormente produzir os empíricos através de múltiplas cartografias. Constitui-se assim mapas dinâmicos ao formar constelações de fragmentos aparentemente desconexos. Faz-se apontamentos sobre ethicidades com base em cartografias de molduras e moldurações de elementos que, de outra maneira, permaneceriam discretos no fluxo comunicacional e compõe-se relações, antes não percebidas, a partir daquilo que parece estranho ou estrangeiro ao pesquisador. Ao final, propõe-se que as fisionômicas da National Geographic se transformam com o tempo, mas seu rosto continua expressando uma rosticidade singular. Suas atualizações em forma de imagens-rosto são as marcas visíveis desta rosticidade atualizada. A rosticidade em si não se deixa apreender, apenas deixa seus rastros. O rosto é uma imagem de síntese e a rosticidade é o conjunto destas sínteses que duram no tempo e se engendram na memória. / This thesis deals with the nature of the becoming-face in the mediatic processes and their reverberations in technoculture under the prism of the audiovisualities. From the discussion of a virtual communicational quality that is updated in face images - or something that stands in the place of the face - that lasts in time and keeps in memory all the potentiality of what is recognized as singular, I have tried to construct the concept of Rosticity. The proposal was based on the epistemological bases and the theoretical-methodological principles found in Bergson's thought, especially in the concepts of duration, memory, perception, consciousness and image. Also fundamental were the expropriations of the concepts of Benjamin, Deleuze, Canevacci, Balázs and Benso, who dedicated themselves to the face as a special image that guides sensory and memory experiences. The production of the corpus followed two methodological procedures that succeeded: 1) constitution of the universe of research in the observation of the marks of rosticity expressed in a plurality of technoimages that circulate through the media, in addition to objects not recognized as media; 2) a progressive trimming of the research galaxy formed by the cartography of National Geographic physiognomies (as a media device), with special attention to National Geographic Magazine face images and, more specifically, to the transformations of the magazine's face through movements in the cover’s design. It is questioned: how and what does the National Geographic's rosticity communicate about the rosticity of technoculture? Or more specifically: What and how does the National Geographic cover, taken as a face, communicate about the magazine, the media device and the rosticity as a quality of technoculture? In order to offer solutions, a method was developed in the research progress itself. It starts from the invention of the problem through the Bergsonian intuition, to later produce the empirical objects through multiple cartographies. Dynamic maps are thus composed by forming constellations of seemingly disconnected fragments. Ethicities are made on the basis of mapping frames and frames of elements that would otherwise remain discrete in the communicational flow and make up relations, previously unperceived, from what seems strange or foreign to the researcher. In the end, it is proposed that the physiognomics of National Geographic transform over time, but its face continues to express its singular rosticity. It updates in the form of face images are the visible marks of this updated rosticity. Rosticity itself does not allow to be grasped, it only leaves its traces. The face is an image of synthesis and the rosticity is the set of these syntheses that last in time and are engendered in the memory.

With the increasing ubiquity of networked “smart” devices that read and gather data on the physical world, the disembodied, cognitive realm of cyberspace has become “everted,” as such technologies migrate the communications networks and data collection of the Internet into the physical world. Popular open-source “maker” practices—most notably the practice of physical computing, which networks objects with digital environments using sensors and microcontrollers—increasingly push human-computer interaction (HCI) into the physical domain. Yet such practices, as political theorists and some philosophers of technology argue, bypass the very question of subjectivity, instead lauding the socioeconomic liberation of the individual afforded by open-source hardware practices. What is missing across these discourses is a technocultural framework for studying the material ways that everted technologies articulate subjects. I argue that examining the various, contradictory forms of interface that emerge from physical computing provides such a framework. To support this claim, I focus on several case studies, drawn from popular physical computing practices and communities, and analyze the particular ways that these devices articulate subjectivity. I conclude by linking my technocultural framework with various feminist theories of boundary transgression and hybridity, and end by suggesting that, in an everted landscape, the subject is politically constituted by a proximity to present time and space. / Graduate / 0585 / shaunmac@uvic.ca

With the increasing ubiquity of networked “smart” devices that read and gather data on the physical world, the disembodied, cognitive realm of cyberspace has become “everted,” as such technologies migrate the communications networks and data collection of the Internet into the physical world. Popular open-source “maker” practices—most notably the practice of physical computing, which networks objects with digital environments using sensors and microcontrollers—increasingly push human-computer interaction (HCI) into the physical domain. Yet such practices, as political theorists and some philosophers of technology argue, bypass the very question of subjectivity, instead lauding the socioeconomic liberation of the individual afforded by open-source hardware practices. What is missing across these discourses is a technocultural framework for studying the material ways that everted technologies articulate subjects. I argue that examining the various, contradictory forms of interface that emerge from physical computing provides such a framework. To support this claim, I focus on several case studies, drawn from popular physical computing practices and communities, and analyze the particular ways that these devices articulate subjectivity. I conclude by linking my technocultural framework with various feminist theories of boundary transgression and hybridity, and end by suggesting that, in an everted landscape, the subject is politically constituted by a proximity to present time and space. / Graduate / 2015-04-21 / 0585 / shaunmac@uvic.ca

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-31T14:52:37Z No. of bitstreams: 1 jesualdodealmeidacastro.pdf: 14702968 bytes, checksum: a51f0418e8996af7f29e8bfb7167332f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-02T12:43:28Z (GMT) No. of bitstreams: 1 jesualdodealmeidacastro.pdf: 14702968 bytes, checksum: a51f0418e8996af7f29e8bfb7167332f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-02T12:43:38Z (GMT) No. of bitstreams: 1 jesualdodealmeidacastro.pdf: 14702968 bytes, checksum: a51f0418e8996af7f29e8bfb7167332f (MD5) / Made available in DSpace on 2016-07-02T12:43:38Z (GMT). No. of bitstreams: 1 jesualdodealmeidacastro.pdf: 14702968 bytes, checksum: a51f0418e8996af7f29e8bfb7167332f (MD5) Previous issue date: 2012-03-12 / Este é um estudo que objetiva verificar se há intencionalidade e convicção nas fotografias postadas no Orkut. Nesta investigação exploratória procura-se gerar conhecimento teórico sobre a fotografia e sua significação, enquanto instrumento de rememoração e agregação social. Procede-se a uma reflexão sobre o Orkut como espaço de territorialização simbólica e repositório público de marcações culturais. Desenvolve-se a análise de fotografias publicadas no Orkut para interpretar a sua produção de sentido e o que isto representa para a memória social. Inclui-se uma discussão que remete à representação social de identidades e subjetividades em redes. Amplia-se a reflexão sobre a fotografia e o uso de sua linguagem como instrumento de manifestação das subjetividades. Realiza-se o estudo das imagens a partir dos pressupostos semióticos e do inventário de fotografias selecionado. Os resultados mostram que há coerência entre os objetivos existentes antes da produção fotográfica e a postagem realizada pelos orkuteiros e ainda confirmam que os blogueiros possuem convicção do poder da fotografia como elemento articulador de discurso social. / This is a study that aims to verify whether there is intention and belief in the photographs posted on Orkut. This exploratory research seeks to generate theoretical knowledge about photography and its significance as a means of remembering and social aggregation. Proceeds to a consideration of Orkut as symbolic space and territorial public repository of cultural markings. It develops the analysis of photographs posted on Orkut to interpret its meaning production and what this means for social memory. Included is a discussion that refers to the representation of social identities and subjectivities in networks. Expands to reflection on photography and the use of their language as an instrument of expression of subjectivity. It takes place the study of images from the assumptions of the semiotic and inventory photographs selected. The results show that there is coherence between the objectives that existed before the photographic production and post held by orkuters and also confirm that the bloggers have convinced the power of photography as an articulator of social discourse.

This thesis offers a critical reflection of posthumanism as seen through the perspectives of performance art. The first part of the text discusses the onset and development of posthumanism as a philosophical and cultural movement focused on the gradual convergence of the human and technology. The following second part then presents a reflection of thus conceptualized posthumanism in performance art. Posthumanism is conceived as a movement on the border between serious scientific discourse and fiction: Based on the mathematical theory of communication, as well as the legacy of cyberpunk dystopia, posthumanism offers a vision of a transition from human to the so called posthuman. The posthuman is seen as an offspring of technoculture, the synthesis of living and artificial, a loosely evolving entity without fixed ontological boundaries. The existence of the posthuman lies beyond dualistic categorization, has a processual character and refuses any essentialist approach. It is an attractive subject of science-fiction stories and a sexy postmodern slogan, but it is also a symbol of a transgression of actual predestinating categories such as race, gender or social status. More than anything else, posthuman is primarily a metaphor, adopted by a variety of narratives focused on the potential aspects of...

U.S. and global citizens will increasingly be called upon to navigate complex social issues surrounding information and communication technologies (ICTs). At the start of the 21st century, humanities educators are uniquely positioned to impact the ways technology literacy is taught and learned in secondary and post-secondary educational settings. Cultural, social, and textual criticism are increasingly embedded in the evolving theories surrounding technology literacy. To build the new kinds of technocultural humanism required, however, humanities educators must continue to fight against fragmented, "atheoretical" technology literacy practices that while not ill-intentioned, do not fit the methodologies needed to produce the best results. Humanities educators must 1) inoculate themselves against the "E Literacy Myth" positing that Gen-Y / Millennial students are inherently "tech savvy"; 2) be willing to provide key perspectives and conversations that have been largely absent from technology discussions; 3) avoid focusing research on narrow textual perspectives, but also investigate the vast range of practical and social implications of technology's use conditions; and 4) explore new classroom techniques that can produce immediate technology literacy gains even if programmatic changes are not forthcoming.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-12-04T15:16:22Z No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) / Made available in DSpace on 2017-12-04T15:16:23Z (GMT). No. of bitstreams: 1 Magda Rosí Ruschel_.pdf: 6348747 bytes, checksum: e1fe2a31f1f2ec8bb5536dd3710161c9 (MD5) Previous issue date: 2017-09-29 / UNISINOS - Universidade do Vale do Rio dos Sinos / A presente tese aborda a invenção de construtos de silêncio em imagens fílmicas. A reflexão dialetiza os imaginários e as tecnologias do silêncio no cinema em perspectiva tecnocultural e das audiovisualidades, inclui os atravessamentos provocados por outros meios de comunicação. A pesquisa investiga e problematiza sobre a técnica e a estética no processo de produção de imagens audiovisuais que ampliam e aprofundam a formalização de um misto composto pelas sonoridades do silêncio como uma virtualidade atualizada em efeitos no desenho de som retratados em três filmes: O silêncio (1963), de Ingmar Bergman, Gravidade (2013), de Alfonso Cuarón, e Aningaaq (2013), de Jonas Cuarón. Os aportes teóricos-metodológicos utilizados associam os procedimentos cartográficos de Benjamin, o método intuitivo de Bergson e a metodologia das molduras de Kilpp. Articula conceitos de autores, tais como, Dubois, Flusser, Didi-huberman, Rancière e Virilio. O objetivo é potencializar os estudos sobre as dimensões sonoras do audiovisual e sobre a voluminosidade do silêncio como lugar da compenetração de estados, trabalhando imagens-memória, como se fossem uma frase-imagem ou forma-imagem. Experimentando por meio do ato de auscultar e de fotografar inscrições em infonográficos extraídos mediante percepções e afecções que emolduram uma experiência sensível e do entendimento de uma legibilidade dos efeitos produzidos em tessituras de tempo e espaço. Essa foi a maneira de autenticar velocidades de leituras rítmicas do som e do silêncio em sucessividade, em simultaneidade e em espessurização. Elege estados que produzem a sensação ou ilusão de presença e sentido considerados como pertencimentos a arquiteturas e instrumentos de medidas gerando operações de apreensão do objeto de estudos formado pelos retratos sonoros: expressões, salões, códigos e espessuras de silêncio. A colocação do problema desta pesquisa, intencionou a autenticação de uma escuta do silêncio como uma imagem sonora e, ou como uma audioperformance. Os resultados alcançados contribuem na compreensão dos processos de imaginação no rearranjo técnico e estético de uma paisagem sonora que engendra o sistema analógico e o digital de codificar imagens em movimento, nos modos de ser e do agir dos efeitos em ambiências audiovisuais, e no projetar formas no desenho de som para criar possibilidades teóricas-metodológicas de uma escuta das materialidades do silêncio na experiência fílmica. / The present dissertation focuses on the invention of silence constructs in filmic images. The reflection dialyzes the imaginary and the technologies of silence in the cinema in a technocultural and audiovisual perspective, and it includes the crossings provoked by other means of communication. The research investigates and problematizes on the technique and the aesthetics in the process of producing audiovisual images that amplify and deepen the formalization of a composite consisting of the sonorities of silence as a virtuality updated in effects in the drawing of sound portrayed in three films: The silence (1963), by Ingmar Bergman, Gravity (2013, by Alfonso Cuarón, and Aningaaq (2013), by Jonas Cuarón. The theoretical-methodological contributions used are associated with Benjamin’s cartographic procedures, Bergson's intuitive method, and Kilpp’s frame methodology. It articulates authors’ concepts such as Dubois, Flusser, Didi-huberman, Rancière and Virilio. The aim is to strengthen the studies on the audio-visual dimensions and the voluminosity of silence as a place for the interpenetration of states, working memory images as if they were a sentence-image or image-form. Experiencing through the act of listening and photographing inscriptions in infonografics extracted by perceptions and affections that frame a sensitive experience and the understanding of a readability of the effects produced in tessituras of time and space. This was the way to authenticate velocities of rhythmic readings of sound and silence in successiveness, simultaneity and thickening. It elects states that produce the sensation or illusion of presence and meaning considered as belonging to architectures and instruments of measures generating operations of apprehension of the object of studies formed by the sonorous portraits: expressions, halls, codes and thickenesses of silence. The placement of this research problem intended the authentication of a listening of silence as a sound image and, or as an audio performance. The results obtained contribute to the understending of the processes of imagination in the technical and aesthetic rearrangement of a soundscape that engenders the analogue and digital system of coding moving images, in the modes of being and acting of effects in audiovisual environments, and in designing forms in the sound design to create theoretical-methodological possibilities of a listening of the materialities of the silence in the filmic experience.

This report focuses on social networks surrounding visual music, a sub-field of audiovisual experimental art in which hearing and seeing intersect, often through the music-oriented manipulation of abstract imagery and audio-visual synchronization. The discussion evolves from my fieldwork in Los Angeles, where I interacted with artists, archivists, publishers, institutions, software developers, and scholars. Taking into account Howard Becker's notion of art world, Pierre Bourdieu's ideas of cultural and economic capitals, and Bruno Latour's actor-network theory, I try to understand how these groups have been trying to establish visual music-networks. Although elements of visual music have been present in various media and artistic trends (color organs, abstract films, VJing-DJing, etc.), the field's history and premises are still little known, in part because the very term 'visual music' is a contested one. Due to its entertainment/cultural industries, Los Angeles is a place where multiple processes of high tech differentiation coexist; since the 1930s the city's technocultural environment (from film production to academic programs on computer animation) has lured artists interested in visual music. Not surprisingly, the city holds the only two institutions directly related to visual music in the country. I navigate through this field by considering some intersections between science, art, and technology. / text