A pesquisa investiga o complexo processo de informatização disciplinar da arquitetura, direcionando-se especificamente à abordagem das relações entre a concepção arquitetônica e o uso de modelos digitais. Nessa relação específica entre tecnologia informático-digital e criação toma-se como recorte privilegiado de estudo a produção das arquiteturas suportadas por técnicas digitais nas últimas duas décadas (1990-2010). Com esse intento, estipulam-se duas aproximações. A primeira evoca a compreensão da própria criação arquitetônica como prática disciplinada, por meio de uma revisão da teoria de projeto. Estabelece uma leitura do papel do homem e dos seus instrumentos no projeto arquitetônico, definindo-se critérios para o ensaio sobre as interferências da tecnologia digital. A segunda aproximação, retoma a filosofia do design proposta de Vilém Flusser. Nesse caso, a pesquisa situa os instrumentos tecnológicos como recurso de superação das limitações humanas, que, afetando as estruturas de pensamento e criação vigentes, delimitam novas relações entre homem, conhecimento, criatividade e realidade. Em especial são estabelecidas incursões teóricas a partir de conceitos propostos pelo filósofo: \"gesto de fazer\", \"aparelho\", \"imagem-técnica\", \"gesto do cálculo e da computação\" e, por fim, \"o programa\". Essas incursões propõem diálogos com outros teóricos do campo do conhecimento e estudos de caso que endossam a argumentação. Por fim, estabelecem-se considerações críticas sobre as interferências da tecnologia informático-digital na arquitetura, propondo-se perspectivas para a criação pautada nos modelos digitais. / This is a research about the complex computerization of Architecture discipline. It focuses on the relationship between architectural design and use of digital models. In this specific context between digital technology and human creation, the study of the production of Architecture supported by digital techniques in the last two decades (1990-2010) is a privileged study object. Considering this, the study stipulates two approaches. The first refers to the understanding of the architectural conception as a disciplined practice through a review of Design Theory. It establishes a lecture on the role of man and its tools in architectural design, defining criteria for the discussion on the influence of digital technology. The second approach uses the design philosophy proposed by Vilém Flusser. In this case, the research comprehends the technological tools as a means of overcoming human limitation. It affects the structures of thinking and creating, marking new relations between man, knowledge, creativity and reality. In particular, incursions are established from theoretical concepts proposed by the philosopher: \"gesture of making\", \"apparatus\", \"technical image\", \"gesture of calculation and computation\", and \"the program\". These approaches raids propose dialogues with other theorists of the field of knowledge and case studies that endorse the argument. Finally, they settle critical considerations about the influence of digital technology in Architecture offering up prospects for the creation based on digital models.

Diese Studie ist eine explorative Forschungsarbeit die darauf abzielt, Stimmen und Ansichten von NutzerInnen sozialer Medien, im Zusammenspiel mit dem theoretischen Gerüst von Flussers Kommunikationstheorie, zu beleuchten. Konkreter gesprochen wird diese Studie empirisch untersuchen, wie Menschen soziale Medien als dialogische Kommunikationsmedien im Vergleich zu Massenmedien als diskursives Kommunikationsmedium wahrnehmen und nutzen. Auf Ergebnissen empirischer Untersuchung beruhend, wird diese Studie die Folge davon für das Kommunikationsgleichgewicht erschließen. Diese Studie führte ein Fokusgruppeninterview mit koreanischen NutzerInnen sozialer Medien durch. Insgesamt wurden für das Interview 24 koreanische NutzerInnen von sozialen Medien durch das Stichprobenverfahren befragt. Die Befragten waren KoreanerInnen in den 20igern bis 30igern, die in der Provinz Seoul und Gyeonggi, Südkorea, leben. Die Analyse des Inhaltes wurde gemäß der Methode der qualitativen Inhaltsanalyse (Mayring, 2000) durchgeführt. Diese Studie erweist, dass die Entwicklung von sozialen Medien uns die Möglichkeit für das Wachsen von dialogischer Kommunikation gibt, um ein Gegengewicht zur Dominanz des diskursiven Medienkomplexes zu sein. Nicht desto trotz ist um dieses Ideal zu erzielen noch viel zu beheben. Es scheint dringend und wichtig für die Entwicklung von sozialen Medien zu sein, die Techno-Imagination des Nutzers herauszubilden, wenn man die Ergebnisse dieser Studie betrachtet. Die Forschung über die Nutzerwahrnehmung und -Aktivität von sozialen Medien hat verdeutlicht, das dass Potential von sozialen Medien durch die Techno-Imagination des Nutzers voll ausgeschöpft werden kann. Die Wege öffnen sich für uns entweder zu einer telematischen Gesellschaft, wo die diskursive und dialogische Kommunikation ausgeglichen ist oder zum Totalitarismus, der von einem diskursiven Medienkomplex, wie Flusser darlegt, dominiert wird. In welche Richtung wir gehen hängt von den Bemühungen ab den aktiven Nutzer mit Techno-Imagination zu entwickeln.:1. Introduction to the Study 1.1 The Problem Statement and Purpose of Study 1.2 Research Questions 1.3 Structure of the Thesis 2. Flusser’s Theory of the Telematic Society 2.1 Major Themes of Flusser’s Communication Theory 2.1.1 Proposition of Communication 2.1.2 Historical Typology of Communication 2.1.3 Balance of Communication 2.2 Imbalance in Communication in the Age of Technical Images 2.2.1 A Mechanism and a Function of Technical Images 2.2.2 The Media System in the Age of Technical Images 2.2.3 Domination of Technical Images and Mass Deception 2.3 Prospects for Communication Balance in the Telematic Society 2.3.1 A Communication Structure of the Telematic Society 2.3.2 Users of the Telematic Society 2.3.3 Socio-Cultural Characteristics of the Telematic Society 3. Development of the Telematic Society 3.1 Current State of the Telematic Technology 3.1.1 The Emergence of Social Media 3.1.2 A Growth in Social Media Users 3.2 The Development of Dialogical Media Culture 3.2.1 Diversification of Information Media Use 3.2.2 A Growth of Dialogical Information Activity 3.2.3 The Development of Networked Political Activism 3.3 Current Obstacles to the Telematic Society 3.3.1 Users’ Passivity in Social Media 3.3.2 New Power Concentration of the Web 3.3.3 The Rise of National Webs and Danger of State’s Control on the Web 4. Users’ Perception and Practice in the Telematic Society 4.1 Research Method and Analysis 4.2 Analysis of Focus Group Interviews 4.2.1 Use of Social Media 4.2.2 Users’ Perception and Evaluation of Social Media 5. Implication of Users’ Technical Imagination and Communication Balance 5.1 A Typology of Social Media Users and Technical Imagination 5.1.1 Critical Active Users 5.1.2 Pragmatic Users 5.1.3 Critical Information Seekers 5.1.4 Skeptical Users 5.1.5 Conservative Users 5.2 Implication for Communication Balance 5.2.1 Possibility of the Growth of Telematic Users 5.2.2 Promotion of Users’ Competences for Communication Balance 6. Conclusion and Recommendations for Further Study 6.1 Conclusion 6.2 Recommendations Bibliography Appendix Abstract

Made available in DSpace on 2016-04-26T18:11:50Z (GMT). No. of bitstreams: 1 Alex Florian Heilmair.pdf: 2770935 bytes, checksum: 0bafd1938d2a9116bfb478bd938ad0dc (MD5) Previous issue date: 2012-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to investigate the concept of the technical image in the work of Czech-Brazilian philosopher Vilém Flusser within the study of human communication, called communicology. In this context, the image produced by technical devices appears as the main communication code, responsible for shaping thoughts and desires of contemporary culture. From the objective point of view, its purpose is to store, process and transmit culturally acquired information; from the intersubjective, it is evidence of the emergence of a post-historical consciousness. The subject delimitation will consider two distinct moments in the author's body of work. The first one covers the reflections of youth, synthesized in the 1970s. The second one, covers mature reflections of the years 1980 and 1990. To elucidate the subject, the singularities of communicology will be considered first, then the dynamics of the concept of image within the study of human communication. In this sense, the historical, functional and ontological differences between the traditional image, text and the technical image code, as well as the pre-historical, historical and post-historical periods that represent them respectively, will be considered. For this purpose, this research was based on the Kommunikologie (Communicology) book and the transcript of the last lecture taught by Flusser at the University of Bochum in Germany, 1991, published partially in the book Kommunikologie weiter denken (Thinking further Communicology). In a complementary way, unpublished papers acquired at the Flusser Archive, located at the University of Arts Berlin (UdK), and the available literature, published mainly in Portuguese and German, as well as commentators which have established direct or indirect interfaces with the technical image or communicology theme, especially participants of the International Flusser Lectures Norval Baitello, Rainer Guldin, Siegfried Zielinski, Dietmar Kamper and Elisabeth von Samsonow, were also considered / A presente pesquisa tem como objetivo investigar o conceito de imagem técnica na obra do filósofo tcheco-brasileiro Vilém Flusser, partindo do estudo da comunicação humana, chamado de comunicologia. Neste contexto, a imagem produzida por aparelhos técnicos aparece como principal código de comunicação, responsável por plasmar o pensamento e as vontades da cultura contemporânea. Do ponto de vista objetivo, o seu propósito é armazenar, processar e transmitir informações adquiridas culturalmente; do intersubjetivo, é indício da emergência de uma consciência póshistórica. Para delimitação do tema, serão considerados dois momentos distintos da obra do autor: o primeiro, abrangendo as reflexões da juventude, sintetizadas nos anos 1970; o segundo, abrangendo as reflexões maduras dos anos 1980 e 1990. Para elucidação do tema, deverão ser consideradas em, primeiro lugar, as singularidades da comunicologia, depois a dinâmica do conceito da imagem dentro do estudo da comunicação humana. Neste percurso, serão consideradas as diferenças históricas, funcionais e ontológicas entre os códigos da imagem tradicional, os textos e as imagens técnicas, bem como os períodos pré-história, história e pós-história que os marcam respectivamente. Para tal efeito, a pesquisa foi desenvolvida com base no livro Kommunikologie (Comunicologia) e na transcrição da última preleção proferida na Universidade de Bochum, na Alemanha em 1991, publicada parcialmente no livro Kommunikologie weiter denken (Continuar pensando a Comunicologia). Foram considerados de modo complementar, artigos não publicados adquiridos no Arquivo Flusser, sediado na Universidade das Artes de Berlim (UdK), somados à bibliografia disponível, publicada principalmente nos idiomas português e alemão. Além disso, ainda foram considerados os comentadores que estabeleceram interfaces diretas ou indiretas com os temas comunicologia e imagens técnicas, sobretudo os participantes da International Flusser Lectures Norval Baitello, Rainer Guldin, Siegfried Zielinski, Dietmar Kamper e Elisabeth von Samsonow

Made available in DSpace on 2016-04-26T18:13:21Z (GMT). No. of bitstreams: 1 Raphael Dall Anese Durante.pdf: 1073989 bytes, checksum: 83f9a6eac76810bcff2ee594eafd753f (MD5) Previous issue date: 2013-10-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In general ways, the present research aims to contribute to the area of communication studies and the media theory, through theoretical reflections about the human communication as a ludic method: game. To this end, we released the thesis that for the Czech-Brazilian philosopher Vilém Flusser (1920-1991), the center issue for understanding our communication is only possible if we take into account the fundamental importance of the concept of the game, especially in your proposal to formulate a philosophical thought about the politics of fun in a programmed universe. This one, by its turn, represents theoretically the opportunity to examine the process of communication as an activity of fun, divided: diabolical. In the specific context we seek to realize an archeology of the game concept, starting with anthropological and philosophical arguments and then making the necessary links with the theory of communication from Flusser. From this point the efforts get focus on research, witch for the thinker in question happens to be the game in its several dimensions, such as: anthropological, philosophical, existential, political esthetic and communicational. His theory of communication attached to the concept of game, Flusser wants to warn us of the deep aspect of the artificial construction from a reality preprogrammed present in all communication structures. An aspect of construction that revels the insignificance and lack of meaning established between man and nature, i.e., between subject and object. Given this worthless scenario we began to build valuable objects to support the weight of an existence absurd and doomed to solitude. We initiated a process we were never able to escape: game. An anthropological view of Flusser, we were thrown into an atmosphere limited by possibilities, pre-written in a closed program with encoded parameters; we fall on the floor and began to play against the nature looking down, to the floor - para que dela pudéssemos arrancar (abstract, subtract) something with meaning, that might make sense. Then we started the project. Design objects who position themselves as a grid under our feet, with the meaning of protecting us from the abyss of of ausência de fundamento that characterizes our existential situation since its origin. This is the meaning of the politics of fun that we stand for on this thesis. We intend to emphasize the limited and fundamentally dialogical nature of all human communication, isto é, the funny character present in every intentional relation of subject toward the object into the programmed universe / A presente pesquisa tem por objetivo geral contribuir substancialmente com a área dos estudos da comunicação e da teoria da mídia através de reflexões teóricas acerca da comunicação humana como um processo lúdico: jogo. Para tanto, lançamos a tese de que, para o pensador tcheco-brasileiro Vilém Flusser (1920-1991), a questão central para o entendimento sobre a nossa comunicação só é possível se levada em conta a fundamental importância do conceito de jogo, especialmente em sua proposta de formulação de uma filosofia sobre a política da diversão em universo programado. Esta que, por sua vez, representa teoricamente a oportunidade de examinar os processos de comunicação como uma atividade divertida, dividida: diabólica. Em seu contexto específico procuramos realizar uma arqueologia do conceito de jogo, passando por argumentos filosóficos e antropológicos, para então, fazermos as relações necessárias com a teoria da comunicação de Flusser. A partir deste ponto os esforços se concentram na investigação do que, para o pensador em questão, vem a ser o jogo, em suas várias dimensões, a saber: antropológica, filosófica, existencial, política, estética e comunicológica. Com sua teoria da comunicação vinculada ao conceito de jogo, Flusser quer nos advertir do profundo aspecto de construção artificial de uma realidade préprogramada presente em todas as estruturas comunicacionais. Um aspecto de construção que se revela justamente a partir da relação de insignificância e de falta de sentido estabelecida entre homem e natureza, isto é, entre sujeito e objeto. Diante desse cenário sem valor, começamos, para suportar o peso de uma existência absurda e fadada à solidão, a construir objetos de valor. Iniciamos um processo e, destarte, nunca mais pudemos escapar: jogo. Na visão antropológica de Flusser, fomos jogados para dentro de ambiente limitado por possibilidades pré-escritas em programa fechado por parâmetros codificados; no chão caímos e passamos a nos jogar contra a natureza olhando para baixo, para o chão para que dela pudéssemos arrancar (abstrair, subtrair) algo que significasse, que pudesse dar sentido. Demos inicio, então, ao projeto. Projeto de objetos que se posicionam como rede sob nossos pés, com o sentido de nos proteger do abismo da ausência de fundamento que caracteriza a nossa situação existencial desde sua gênese. Este é o sentido da política da diversão que defendemos nesta tese e pretendemos, com isso, evidenciar a natureza fundamentalmente dialógica e limitada de toda comunicação humana, isto é, o caráter divertido presente em toda relação intencional do sujeito na direção do objeto dentro de universo programado

Doctoral dissertation: Media as Space to the Knowledge of World Author: Jana Kuklová ABSTRACT: The present doctoral thesis deals with the question of the media as an epistemological tool. The media close world in presentation and transform the horizon of human existence. The author develops the Flusser's concept of apparatus and of the universe of technical images. This dissertation shows that people use media without understanding them. Person understands himself only as an object of oparation. Media are based on the essence of techniques - Gestell. This thesis introduces the concept of technical space which helps people to understand the scope of the media as a system. The author believes that it is necessary to change our dealings with the media to live in freedom, not the totality. KEYWORDS: Media - Wilém Flusser - apparatus - "Gestell" - Technology - Operation - Coexistence

This graduation work is concerned with newly developing media formats, focusing on the reality show format. Introduction chapters theoretically describe theses from selected philosophical works of Vilém Flusser, which are mainly thoughts included in his interpretation of technical pictures philosophy. Further chapters follow this topic and try to link it with the reality show format. This format is defined and supplemented with specific examples. The graduation work is then concluded with chapters that introduce the reality show from a social-psychological point of view. These chapters are based on examples of psychological experiments, the results of which are applicable to certain situations which could occur within a reality show. The conclusion of the graduation work comprises the overall assessment of the reality show format in connection with the philosophy of technical pictures and outcomes of psychological experiments.

Wissen, Wissenssammlungen und Wissensordnungen haben sich im Laufe der Jahre verändert, ebenso wie die Wissensproduktion, die Schaffung neuen Wissens, die Wissenschaft selbst. Der Baum des Wissens, arbor porphyriana oder auch arbor scientiae war seit der Antike eine gültige Metapher und das Klassifikationsschema für die Struktur des Wissens, die epistemologische Ordnung. So lehnte auch Denis Diderot die Ordnung seiner berühmten Enzyklopädie an die Baumstruktur des Wissens von Francis Bacon an. (...)

"Maschinenphilologie" – das heißt: Fahndung nach dem Subjekt der Philologie. Literaturarchive, Textkritiken und Digital Humanities sind heute Schauplätze digitaler Medien, die nicht nur den passiven Gegenstand, sondern das methodische Werkzeug von Philologie abgeben. Ihre Wirkmacht nötigt zur Frage, wie eine bestimmte Maschinengattung die Prämissen, Praktiken und Institutionen dieses seit 1800 humanistisch geprägten Wissenschaftsfeldes affiziert. Und damit auch seinen geschichtsträchtigen Subjektbegriff: Denn wo nicht mehr nur oder primär Menschen, sondern auch ihr maschinelles Andere schreibt, liest, archiviert und ediert, ist die Logosliebe, mit N. Katherine Hayles zu sprechen, längst posthumanistisch geworden. Grund genug, dieses Beziehungsgeflecht von Menschen und Medien noch einmal abseits von allen Humanexzeptionalismen zu denken: Philologie am heutigen Tag ist immer auch Maschinenphilologie. / This dissertation is in pursuit of the elusive agent of philology. Be it literary archives which curate digital remains, textual criticism which processes computer software, or the Digital Humanities as an alleged new paradigm of humanities, digital media poses particular challenges for philology today—not only as an object of study, but also as a methodological tool. "Machine Philology" confronts these challenges, asking more generally how a particular type of machinery affects the premises, practices, and institutions of a scientific field informed by traditional humanism. Central to the project is an inquiry into the notion of subjectivity. For, where not only human beings, but also their machinic Other, reads, writes, archives, and edits, it is to be argued that philology has—following N. Katherine Hayles—become posthumanistic. The dissertation uses this as an opportunity for a fundamental reconsideration of the entangled network of human beings and media that philology can be described as, evacuated of any human-exceptionalism: Philology today is machine philology.

Wissen, Wissenssammlungen und Wissensordnungen haben sich im Laufe der Jahre verändert, ebenso wie die Wissensproduktion, die Schaffung neuen Wissens, die Wissenschaft selbst. Der Baum des Wissens, arbor porphyriana oder auch arbor scientiae war seit der Antike eine gültige Metapher und das Klassifikationsschema für die Struktur des Wissens, die epistemologische Ordnung. So lehnte auch Denis Diderot die Ordnung seiner berühmten Enzyklopädie an die Baumstruktur des Wissens von Francis Bacon an. (...)