Made available in DSpace on 2016-04-26T18:11:33Z (GMT). No. of bitstreams: 1 Renata Tavares da Silva Lemos.pdf: 2502157 bytes, checksum: dd9593f73582bfe234482fc695bf62c9 (MD5) Previous issue date: 2012-03-26 / This thesis discusses the contemporary developments of Mario Costa's aesthetics of communication in the context of nanoconvergence (the pervasive process of integration between digital, biological, computational and cognitive interfaces). Nanoconvergence is a historical event similar to the advent of cyberspace, which carries an equivalent potential for disruption. Just as Mario Costa's aesthetics of communication present a technological sublime which is mediated via technical images, we propose in this thesis the emergence of an aesthetics of nanocommunication, which proposes a nanotechnological sublime which is mediated through technological individuation.While Mario Costa's technological sublime relies entirely on the Kantian sublime, the nanotechnological sublime is inspired by the transimanent sublime of Schopenhauer. Mario Costa's technological sublime is connected to the virtual and to the digital reproducibility of imaging techniques. However, the nanotechnological sublime refers instead to the materiality and self-reproducibility of its principle of individuation. The nanotechnological principle of individuation acts as a transductive medium between unity of matter and the multiplicity of its material elements and compounds, as stated by Bainbridge, Stiegler and Simondon. The nanotechnological sublime is explored through three stages of research: scientific - research and presentation of the technoscientific achievements of nanotechnology; philosophical - analysis of the specificity of the sublime aesthetics peculiar to these advances in science, and artistic - research and analysis of nanoimages and the collaborative production of video art based on the concept of the nanosublime. Contemporary nanoimages reveal a nanotechnological imaginarium where references to alchemy and medieval ideology are present both in scientific discourse and the poetics of nanoart. The nanotechnological sublime belongs to the semiotic realm in which the visible and invisible are not in opposition, for the materiality of physical reality, established through quantum modulations nanotechnologically manipulated, is perfectly united with the immaterial lightness of the informational codes that enable nanoconvergence / Este trabalho aborda os desdobramentos contemporâneos da estética da comunicação de Mario Costa no contexto tecnocientífico da nanoconvergência (o processo de integração pervasiva entre interfaces digitais, biológicas, computacionais e cognitivas). A nanoconvergência é um acontecimento histórico, similar ao advento do ciberespaço, que apresenta potencial equivalente de disrupção. Assim como a estética da comunicação de Mario Costa apresenta um sublime tecnológico mediado através de imagens técnicas, propomos nesta tese o surgimento de uma estética da nanocomunicação, a qual, por sua vez, propõe um sublime nanotecnológico mediado através da individuação tecnológica. Enquanto o sublime tecnológico de Mario Costa se baseia inteiramente no sublime kantiano, o sublime nanotecnológico se inspira no sublime transimanente de Schopenhauer. Se o sublime tecnológico de Mario Costa está ligado à virtualidade e reprodutibilidade digital das imagens técnicas, temos que o sublime nanotecnológico se refere, ao invés, à materialidade e autorreprodutibilidade do seu princípio de individuação. O princípio de individuação nanotecnológico atua como meio transdutivo entre a unidade da matéria e a multiplicidade de seus elementos e compostos materiais, como nos apresentam Bainbridge, Stiegler e Simondon. O sublime nanotecnológico é explorado através de três etapas de pesquisa: científica levantamento e apresentação das fronteiras tecnocientíficas relacionadas à nanotecnologia; filosófica análise da especificidade do sublime que a estética peculiar aos avanços científicos nos evoca; e artística pesquisa e análise das imagens nanotecnológicas e produção colaborativa de vídeo-arte baseada no conceito do nanosublime. As nanoimagens nos revelam um imaginário nanotecnológico no qual referências à alquimia e ao ideário medieval estão presentes, tanto no discurso científico quanto nas poéticas da nanoarte. O sublime nanotecnológico pertence à dimensão semiótica em que o visível e o invisível não estão em oposição e nem caracterizam uma dualidade, pois a materialidade da realidade física, manipulável através das modulações quânticas da nanotecnologia, mostra-se perfeitamente coesa com a imaterialidade característica à leveza dos códigos informacionais da nanoconvergência

L’aérosol est une technologie omniprésente dans notre quotidien (mousse à raser, laque capillaire, insecticide, chantilly…), sans cesse critiquée et concurrencée par de multiples alternatives, elle comporte dans son script même différents risques à contenir. Cette thèse part de ce constat pour poser une question concise : comment la technologie aérosol et l’industrie qui la produit parviennent-elles à se maintenir depuis les années 1950 ? Pour répondre à cette question la thèse développe une analyse diachronique du développement de l’aérosol et de son industrie en mobilisant une instrumentation méthodologique adaptée. L’enquête part du principe qu’il n’existe pas « une industrie » mais des industries situées en fonction des lieux et des temporalités qui sont le fruit d’un travail menant à des recompositions successives des collectifs industriels. Pour suivre les recompositions conjointes de la technologie aérosol et de son appareil productif, l’enquête ne suit pas un objet technique spécifique mais mobilise la notion de principe technologique permettant ainsi à l’analyse d’articuler plusieurs moments critiques du développement de la technologie aérosol. Chaque moment critique constitue ainsi une forme d’épreuve spécifique au cours de laquelle l’industrie adopte une modalité réflexive adaptée. Outre l’apport méthodologique permettant d’articuler des questionnements en Sciences and Technology Studies, en sciences politiques, en la sociologie des risques, en sociologie des marchés et en histoire industrielle, les principaux résultats de la thèse consistent à caractériser des configurations problématiques. Chacune d’entre elles met en évidence les relations entre une façon de composer avec les risques associés à la technologie aérosol, une manière de prendre en compte des critiques spécifiques, un mode d’intervention des autorités publiques et des modalités différentes de la réflexivité industrielle. / Aerosol dispenser is a pervasive technology in our everyday life (shaving foam, hairspray, insecticide, whipped cream ...), yet constantly criticized and in competition with multiple alternatives. Its very script comprises various risks. The thesis starts from this observation to ask a concise question : How have aerosol technology and the industry producing it managed to persist since the 1950s? To answer this question, the thesis develops a diachronic analysis of the development of the aerosol and its industry by mobilizing an adapted methodological instrumentation. The empirical work supposes that there is no single "industry" but several industries based on sites and temporalities. These industries are the outcome of works leading to the successive recompositions of industrial collectives. In order to follow the joint reconstructions of aerosol technology and its productive apparatus, the thesis does not follow a specific technical object but mobilizes the notion of technological principle enabling the analysis to articulate several critical moments in the development of aerosol technology. Thus, each critical moment constitutes a specific form of trial in which the industry adopts an adapted reflexive modality. In addition to a methodological contribution proposing to articulate several scholarly fields such as Science and Technology Studies, political science, the sociology of risk, the sociology of markets and industrial history, the main results of the thesis consist in characterizing problematic configurations, each of them highlighting the relations between a way of dealing with the risks associated with the aerosol technology, a way of taking into account specific criticisms, a mode of intervention of public authorities and various modalities of industrial reflexivity.