No description available.

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Daniel Dalmoro.pdf: 937799 bytes, checksum: 2de885b42cac7d5bee7abccea95884db (MD5) Previous issue date: 2013-10-17 / This work focuses in the book The Society of Spectacle, from the french polemicist Guy Debord (1931-1994). Initially, there is the study regarding the influences to whom the author dialogues directly or indirectly Marxism, French philosophy, the artistic avant-gardes of the twentieth century. Subsequently, it follows more closely to the refered book, in particular in the matter of representation the representation in politics, representation in language and representation of time. Finally, there is a brief critical readback of the 1988's text, Comentaries about the Society of Spectacle / Este trabalho versa sobre a obra A sociedade do espetáculo, do polemista francês Guy Debord (1931-1994). Num primeiro momento são levantadas as influências com quem o autor dialoga direta ou indiretamente , o marxismo, a filosofia francesa, as vanguardas artísticas do século XX. A seguir se debruça mais detidamente sobre o livro referido, em especial na questão da representação a representação na política, a representação na linguagem, a representação do tempo. Enfim, há um breve cotejamento crítico com o texto de 1988, Comentários sobre a sociedade do espetáculo

A software application called Public News Network (PNN) is created in this thesis, which functions to produce an aesthetic experience in the viewer. The application engenders this experience by presenting a three-dimensional virtual world that the viewer can navigate using the computer mouse and keyboard. As the viewer navigates the environment she sees irregularly shaped objects resting on an infinite ground plane, and hears an ethereal wind. As the viewer nears the objects, the sound transforms into the sound of television static and text is displayed which identifies this object as representative of an episode of the evening news. The viewer "touches" the episode and a "disembodied" transcript of the broadcast begins to scroll across the screen. With further interaction, video of the broadcast streams across the surfaces of the environment, distorted by the shapes upon which it flows. The viewer can further manipulate and repurpose the broadcast by searching for words contained within the transcript. The results of this search are reassembled into a new, re-contextualized display of video containing the search terms stripped from their original, pre-packaged context. It is this willful manipulation that completes the opportunity for true meaning to appear.

A software application called Public News Network (PNN) is created in this thesis, which functions to produce an aesthetic experience in the viewer. The application engenders this experience by presenting a three-dimensional virtual world that the viewer can navigate using the computer mouse and keyboard. As the viewer navigates the environment she sees irregularly shaped objects resting on an infinite ground plane, and hears an ethereal wind. As the viewer nears the objects, the sound transforms into the sound of television static and text is displayed which identifies this object as representative of an episode of the evening news. The viewer "touches" the episode and a "disembodied" transcript of the broadcast begins to scroll across the screen. With further interaction, video of the broadcast streams across the surfaces of the environment, distorted by the shapes upon which it flows. The viewer can further manipulate and repurpose the broadcast by searching for words contained within the transcript. The results of this search are reassembled into a new, re-contextualized display of video containing the search terms stripped from their original, pre-packaged context. It is this willful manipulation that completes the opportunity for true meaning to appear.

The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

Cette thèse explore et analyse l’œuvre théâtrale d’André Engel, metteur en scène français atypique. Depuis 1972, il travaille avec une équipe de création constituée des dramaturges Bernard Pautrat puis Dominique Muller, du décorateur Nicky Rieti et de l’éclairagiste André Diot. André Engel a d’abord créé ses spectacles dans des lieux inédits : haras, usine désaffectée, ancienne mairie, hangar, donnant naissance à des « Objets Théâtraux Non Identifiés » qui marquèrent le théâtre des années soixante-dix et quatre-vingt ; formes que la nécessité de travailler dans les salles fit évoluer. Attaché à la question du spectateur, André Engel a, tout au long de son œuvre, proposé un renouvellement de son statut. De la création « hors les murs » au théâtre en salle, du « détour » par l’opéra à la tentation du cinéma, l’œuvre d’André Engel, constituée en cycles, est une véritable aventure théâtrale, une machine au rhizome complexe qui sort des repères connus. Nourri de philosophie allemande, d’influences deleuziennes et de lectures situationnistes, André Engel est venu au théâtre pour changer le monde. Il crée des événements, des expérimentations, des situations, proposant de nouveaux espaces-temps dans un acte de résistance et de reconquête du monde qui s’associe à une poésie de l’errance, du voyage et de la dérive. Machine de guerre contre « la société du spectacle », le théâtre est, pour André Engel, le lieu et le moyen d’un combat contre le monde aliéné, pour la reconquête de l’authenticité du réel. / This thesis explores and analyzes the theatrical work of André Engel, an unconventional French stage director, working since 1972 with a team composed of dramatists Bernard Pautrat followed by Dominique Muller, designer Nicky Rieti and lighting designer André Diot, as a creative ensemble. André Engel staged his first performances in unusual places : a stud farm, a disused factory, a former town hall, a warehouse, giving birth to « Objets Théâtraux Non Identifiés » : landmarks in the theatre scene of the 70s and 80s. The need to work in conventional theatre brought with it in an evolution of his art. Throughout his work, André Engel proposes a new vision of the status of spectator. From « hors les murs » to more traditional venues, from incursions into opera to the temptations of cinema, these cycles in André Engel’s work are a true adventure in theatre, a machine with a complex rhizome which does not tread well-beaten paths. Nurtured by German philosophy, by the thought of Gilles Deleuze and influenced by readings of the Situationists, André Engel came to theatre in order to change the world. He creates events, experiments, situations, offering as an act of resistance, new dimensions in space and time : re-conquests of a world associated with the poetics of wandering, travelling, being adrift. As a machine for war against « la société du spectacle » as Guy Debord calls it, theatre for André Engel provides the perfect place and means for fighting against a world of alienation, for re-conquering the authenticity of the real.

The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

Intellectuel évoluant aux marges des institutions, Guy Debord (1931-1994) fut l’auteur d’une pensée et d’un art hétérodoxes. Cette thèse tente de refaire le chemin de son expérience intellectuelle grâce à l’étude des documents inédits conservés au « Fonds Guy Debord » de la Bibliothèque nationale de France. Sont étudiés les manuscrits de ses œuvres, les documents préparatoires de ses films et, plus particulièrement, ses nombreuses fiches de lecture, afin d’établir une généalogie des concepts et des idées de l’auteur, en resituant Debord dans le contexte de son époque. Le grand débat qui animait alors la pensée française, partagée entre les vagues opposées de l’existentialisme et du structuralisme, se concentrait en effet sur l’affirmation ou la disparition du « sujet ». Debord ne participe pas directement à cette querelle et s’intéresse fort peu aux auteurs de la mode. Néanmoins, son œuvre constitue une réponse à ce débat, réponse donnée, d’abord, par l’élaboration d’un art expérimental qui remet le sujet en situation, en recherchant les déterminations objectives qui affectent la subjectivité ; ensuite, par l’élaboration d’une théorie – la théorie du « spectacle » – qui voit la séparation entre l’expérience et la représentation comme le propre de la modernité capitaliste ; enfin, par le développement d’une écriture – littéraire et cinématographique – qui puise dans le travail du détournement et de la citation le moyen de dépasser la séparation « spectaculaire » entre le sujet et le langage. / Guy Debord (1931-1994), always on the margins of cultural and intellectual institutions, authored a heterodox style of thought and art. Through extensive archival research in the “Fonds Guy Debord”, a collection of unpublished notes and manuscripts in the Bibliothèque nationale de France, this thesis seeks to retrace Debord’s intellectual experience. These documents allow for the creation of a genealogy of the author’s key concepts and enable us to situate him in the intellectual context of his times. Contemporary French thought was dominated by existentialism and structuralism. Discussion of the empowerment and disappearance of the “subject” was therefore central. Although Debord took no direct part in these disputes, expressing disinterest in the authors then in vogue, his works did respond to this debate: First of all, in his experimental art, which places the subject in a “situation” and thereby seeks to discover the objective determinations that affect subjectivity; secondly, in his theoretical work – in particular, the theory of the spectacle –, in which capitalist modernity is characterized as a growing separation between experience and representation; and thirdly, in his literary and cinematic works, in which the practice of détournement appears as a method for a subjective re-appropriation of representation.

No description available.

Esta pesquisa aborda as condições da produção do espaço urbano e sua imagem a partir da realização da Copa do Mundo de Futebol da Fédération Internationale de Football Association (FIFA) de 2014, e as contradições entre elas. Para tal, recorre, sobretudo, às bases teóricometodológicas advindas de Henri Lefebvre, Guy Debord e outros membros da Internacional Situacionista (IS), bem como a Karl Marx e Robert Kurz. As cidades sede da Copa de 2014, mais notadamente São Paulo, Rio de Janeiro e São Lourenço da Mata/Recife, constituem o espaço de análise para compreender as relações entre Estado e capital, bem como suas formas de efetivação no cotidiano e no espaço. Em busca de desvendar o papel do Estado na reprodução (crítica) do capitalismo, foram analisadas as leis federais voltadas para a Copa de 2014; a carta de crédito do Banco Nacional de Desenvolvimento Econômico e Social (BNDES) destinada à construção das arenas; o Regime de Diferenciado de Contratações Públicas (RDC); as Parcerias Público-Privadas; e os Certificados de Incentivo ao Desenvolvimento (CID) concedidos pela prefeitura de São Paulo. Os resultados e consequências desse processo efetivam-se na espacialidade urbana e em seu cotidiano por meio de estratégias como, por exemplo, FIFA Fan Fest,smart city,naming right,áreas de restrição comercial, crime por marketing de emboscada,ranking de cidadesmarcas, direitos de imagem e de marketing da FIFA. Diante disso irrompe a hipótese de que a produção do espaço espetaculariza-se, e a cidade torna-se cenário na medida em que sua imagem é produzida e comercializada autonomizada de seus conteúdos e contradições. Reduzida a cenário, a cidade vê-se diante de novos processos de fragmentação e segregação, o que possibilita avançar na compreensão de novos negócios com o urbano e sua paisagem. / This research approaches the conditions and contradictions between the production of urban space and its image, based on the FIFAs Football World Cup 2014 event. For this purpose, uses the theoretical and methodological bases arising from Henri Lefebvre, Guy Debord and other members of the Situationist International, as well as Karl Marx and Robert Kurz. The Cup host cities in 2014, especially Sao Paulo, Rio de Janeiro and São Lourenço da Mata/Recife, constitute the scope of analysis to understand the relations between state and capital as well as their ways of realization in daily life and space. Seeking to unravel the States role in the (critical) reproduction of capitalism, we have analyzed the Federal Laws aimed at the 2014 World Cup, the BNDESs line of credit granted for the construction of the World Cup stadiums; the Differentiated Contracting Regime; the Public-Private Partnerships; and the Development Incentive Certificates granted by São Paulos City Hall. The results and consequences of this process are materialized in urban spatiality and in daily life through strategies such as the FIFAs Fan Fests; smart city; naming right; areas of trade restraint; crime of ambush marketing; ranking city-brands; FIFAs image rights and marketing rights. In light of this arises the hypothesis that the production of space becomes spectacular, and the city becomes scenario to the extent that its image is produced and marketed autonomized of its contents and contradictions. Reduced to scenario, the city faces new processes of fragmentation and segregation, which enables us to a better understanding of the new business with the urban and its landscape.