I denna uppsats utforskar vi icke-mänskliga varelser och den mänsklighet vi som betraktare ger dem, både i position som mediekonsumenter samt producenter. Med en frågeställning som fokuserar på hur vi ska gestalta varelser i relation till antropomorfism, och genom granskning av den vaga gräns som existerar mellan fantasivarelser och verkliga djur, tar vi hjälp av teorier främst från Donna Haraway, Boria Sax, Jennifer Parker-Starbuck och Fanny Ambjörnsson. Ändamålet består i att belysa antropomorfiska stilgrepp, om hur och varför vi applicerar beteenden som antas styras av motiv liknande människans på djur, samt att öka förståelsen för den mänskliga linsens inblandning. Genom tidigare forskning, tecken- och färglära, samt en ständig medvetenhet kring posthumanism och mänskliggörande av djur, tar vi oss an att gestalta nyanserad antropomorfism i 3D. I vår undersökning framkommer det att ett kontinuerligt reflekterande krävs vid tillskrivande av attribut på varelser, eftersom vi ständigt tolkar omvärlden genom en mänsklig lins. Argument finns för att de varierade förutsättningarna olika djur är försedda med ger upphov till en helt annan iakttagelseförmåga än den människan besitter. Det behövs både ett kritiserande av människans natur och ett ifrågasättande av att som människa försöka uppfatta världen genom en icke-mänsklig varelses sinnen, när vad vi besitter är ett utifrånperspektiv till djurlivet. / In this bachelor thesis, we investigate non-human beings and the human traits we apply on them, both in a position as media consumers and as producers. The research question focuses on how to portray creatures in relation to anthropomorphism, and with an examination on the vague boundary that exists between imaginary animals and real animals, we explore anthropomorphism mainly through the theoretical lenses of Donna Haraway, Boria Sax, Jennifer Parker-Starbuck and Fanny Ambjörnsson. Our purpose is to illuminate the idea of anthropomorphism – how and why we apply human-like behaviours on animals – and to increase our understanding for the influence of the human lens. With previous research, semiotics, as well as an awareness about posthumanism and humanizing of animals, we come to terms with the depiction of nuanced anthropomorphism in 3D. Through our research it appears that we need to reflect constantly on our choices during application of attributes on creatures, due to our human interpretation of the world. There is discussion concerning the varying qualities among different kinds of animals, which declares that these attributes cause animals to possess a completely different perception than humans hold. It requires both a questioning about the nature of humans, and a criticizing of how we humans try to apprehend the surrounding world through the lens of a non-human creatures and their senses, when all we have is an outside perspective of the wildlife.

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Becoming a young woman amid the foothills and valleys of the Appalachian Mountains has fulfilled me with an awareness that I am not from "around these parts" that I now find myself in. As I navigated my way across the mountains, to the southern slopes of the east coast, I began to realize the life I was leaving behind through the process of photography, film, and the act of making a recording. This document speaks about the ideas and persistent energy that drive my process of creation while focusing on three important bodies of work that exhibit what I believe to be a method of engagement between the body and the camera. Out of my experiences, I want to make record of the blips and intonations, and of the in-between spaces where language is displaced and the visual speaks for itself.

My current work revels in a state of flux. I strive for the work to be electrically charged, conveying a feverish sense of immediacy and vitality that implies motion and frenetic energy. The work is an accretion of brightly colored biomorphic forms that extend out from the wall and onto the floor. Viscous parts ooze and drip while others are globular and bulbous. The hyper-organic forms suggest a paradoxical state of both ripening and rotting, becoming and unbecoming. The work is an attempt to traverse between seemingly divergent constructs, some of which include: growth and decay, the artificial and the natural, the body and the landscape, the infinite and the miniscule, and the real and the imagined. I intend for the works to be suggestive of mutation, of systems becoming cross-wired and melting into each other.

In 1955, American artist Dorothea Tanning abandoned her figurative Surrealist renderings of dream-like scenarios in favor of a complexly abstract and fragmented style of painting. With few exceptions, the ways in which Tanning’s later works function independently of her earlier paintings tends to be downplayed in the scholarship on her oeuvre. Equally sparse is the scholarship on Tanning’s dog imagery, which pervades her oeuvre but becomes most apparent in her later phase. This thesis seeks to shift attention toward Tanning’s later abstract paintings; it also seeks to fill the gap in scholarship on Tanning’s dogs. Specifically, through the study of five Tanning paintings from the late 1950s and 1960s, with the theoretical aid of Deleuze and Guattari’s conception of the becoming-animal, this thesis will investigate how Tanning’s post-1955 paintings create and promote new ways for viewers to think about the relations between humans and animals in the human-dominated modern world.

Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.

O tema da identidade promoveu muitas pesquisas sobre a obra de Machado de Assis. Tal tema está ancorado numa questão ontológica. Buscando evitar essa questão, a noção de devir nos permitiu uma mudança de perspectiva. A vontade de saber sobre a personagem Capitu, presente em muitos teóricos, pareceu-nos um sintoma do privilégio da ontologia em relação à reflexão sobre a alteridade. Pensamos que essa vontade de saber é uma forma específica para assimilar o outro. A narrativa de Casmurro pretende dar uma identidade a Capitu, contrapondo, de forma binária, uma verdadeira Capitu a outra dissimulada. Em função disso, constrói uma lógica causal comprometida com a preocupação ontológica. Impotente diante da alteridade do outro, a consciência do narrador se ressente. Acreditamos que ele escreve como meio de lidar com o ressentimento na sua experiência do passado. Essa escrita, que também lhe escapa como a alteridade do outro, pode proporcionar uma ruptura com a moral do ressentimento, projetando no porvir uma expectativa de modificação. Para tal, recorremos à teoria de Jacques Derrida a fim de demonstrar o devir da escrita no romance Dom Casmurro de Machado de Assis e seu poder transformador. / The theme of identity produced much research on the work of Machado de Assis. This theme is based on an ontological question. On the attempt to avoid this issue, the notion of becoming allowed a different perspective. The desire to know about the character Capitu, observed in many theorists, seemed a symptom of the privilege of ontology in relation to reflection on otherness. We think that this desire to know is a specific way to assimilate the other. The narrative of Casmurro aims to give an identity to Capitu, in contrast, in binary form, a real Capitu to an other dissembled. As a result, it builds a causal logic committed to the ontological concern. Powerless against the otherness of the other, the consciousness of the narrator resents. We believe that he writes as a means of dealing with the resentment in his own experience of past. This writing, which also eludes him as the otherness of the other, can provide a disruption with the moral of the resentment, projecting on the time to come an expectation of some change. With this objective, we use the theory of Jacques Derrida to demonstrate the becoming of the writing in the novel Don Casmurro from Machado de Assis - and its transformative power.

Made available in DSpace on 2016-08-10T11:07:19Z (GMT). No. of bitstreams: 1 JOAO EDESIO DE OLIVEIRA JUNIOR.pdf: 987726 bytes, checksum: c4677d63bc48e5bef5e0e2337e167942 (MD5) Previous issue date: 2016-03-17 / The main goal of this dissertation is to analyze the modernist work of John Guimarães Rosa Grande Sertão: Veredas- The Devil to Pay in the Backlands in an aesthetic perspective. This approach gives a plural and complex dimension of their work, which is an inexhaustible source of analysis. One of the key aspects to be investigated in Grande Sertão: Veredas- The Devil to Pay in the Backlands is the pluralization of language that gives the abstraction and game creation. In a systematic and research, this paper will present some possibilities of analysis of plural manifestations of language in the reconstruction and reinvention process. In many ways, the language is object of study for understanding oneself and the world. In this sense, the analysis, both philosophical and language are important to study an experimental project to create Grande Sertão: Veredas- The Devil to Pay in the Backlands. Because it is a creative and vivid language, it is difficult to draw conclusions on it and it would kill her. Therefore, to study it better you need to follow the current contemporary criticism, in which the language is intuited as a living and dynamic creative power. For his many meaningful possibilities and numerous semantic innovations in Grande Sertão: Veredas- The Devil to Pay in the Backlands, the words do not wear out over time, but give new meaning to each new reading The reader becomes the subject of the meaning to establish new elaborations. semantic and many of sense paths, a meaning that is never completed because the hinterland, in this case, is multiple and open, boasting the disparate meanings and metaphysical that end up being distressing, given the challenges of the world in general and its own world. / O objetivo desta dissertação é analisar a obra romanesca de João Guimarão Rosa, Grande Sertão: Veredas, numa perspectiva estética. Essa abordagem se dá pela dimensao pluri e complexa da obra, sendo ela uma fonte inesgotável de análise. Um dos aspectos fundamentais a ser investigado em Grande Sertão: Veredas é a plurifacialização da linguagem que se dá na abstração e no jogo da criação. De modo sistemático e investigativo, serão apontadas algumas possibilidades de análise das manifestações plurais da linguagem em seu processo de reconstrução e reinvenção. Sob vários aspectos, a linguagem é objeto de estudo para a compreensão de si e do mundo. Neste sentido, as análises, tanto filosóficas quanto linguísticas, são importantes para estudar um projeto experimental de criação como esse em Grande Sertão: Veredas. Por se tratar de uma linguagem criativa e viva, torna-se difícil tirar conclusões sobre ela, isto seria matá-la. Assim, para estudá-la é melhor seguir correntes críticas contemporâneas, nas quais a língua é intuída em seu poder vivo e dinâmico de criação. Por suas variadas possibilidades significativas e inúmeras inovações semânticas em Grande Sertão: Veredas, as palavras não desgastam com o tempo, mas ressignificam-se a cada nova leitura. O leitor se torna sujeito da significação, ao estabelecer novas elaborações semânticas, instauradoras de muitas veredas de sentido, de um sentido que nunca conclui, pois o sertão, no presente caso, é múltiplo e aberto, ensejador dos mais díspares significados metafísicos que acabam angustiando o ser em face dos desafios, advindos do mundo em geral e de seu próprio mundo.

Cette thèse porte sur le thème de l’artiste dans l’œuvre de Pierre Michon. L’artiste comme pratiquant d’une carrière liée à la création (picturale, poétique, musicale, etc.) est une figure compliquée, car il habite à la lisière d’un monde intérieur propre à lui seul et de l’univers socio-historique qui l’entoure et qui oriente ses essais. Ayant beaucoup écrit sur les peintres et les écrivains Michon est l’un des auteurs contemporains qui ont largement traité le processus labyrinthique du devenir-artiste. D’ailleurs, la question de l’artiste chez cet auteur ne peut être abordée qu’en compagnie des aspects socio-historiques de son œuvre. Ainsi, notre objectif durant ce travail consiste à analyser la formation de l’artiste, de même que le rôle crucial que jouent les instances socio-historiques dans le devenir-artiste, à partir de l’œuvre de Michon, afin de formuler le point de vue de cet auteur en ce qui concerne les diverses dimensions de la création artistique. / This thesis focuses on the theme of the artist in the works of Pierre Michon. The artist as a practitioner of a career linked to creation (pictorial, poetic, musical, etc.) is a complicated figure, because he lives on the edge of an inner world proper to himself and of the socio-historical world that surrounds it and that guides its trials. Having written extensively about painters and writers, Michon is one of the contemporary writers who has widely dealt with the labyrinthine process of becoming-artist. Moreover, the question of the artist in this author can only be approached in the company of the socio-historical aspects of his works. Thus, the objective of this work is to analyze the formation of the artist, as well as the crucial role played by the socio-historical bodies in the becoming-artist, in the works of Michon, in order to formulate the point of view of this author with regard to the various dimensions of artistic creation.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-31T10:51:54Z No. of bitstreams: 1 Rafael Avila Matede.pdf: 520347 bytes, checksum: 7df3337231397ebbea1aa088a622f442 (MD5) / Made available in DSpace on 2017-01-31T10:51:54Z (GMT). No. of bitstreams: 1 Rafael Avila Matede.pdf: 520347 bytes, checksum: 7df3337231397ebbea1aa088a622f442 (MD5) Previous issue date: 2017-01-23 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following work presents aspects of the philosophies of Heraclitus and Parmenides through the courses given by Bergson at the University of Clermont-Ferrand between 1884 and 1898 before publishing his first work, Time and Free Will: An Essay on the Immediate Data of Consciousness. Bergson’s perspective is highlighted in relation to the doctrines of Heraclitus and Parmenides in order to clarify the restorative effects of his interpretation, which renews important concepts of these philosophers at the same time as showing features of his future philosophy. We believe a deep study of Bergson’ s courses will contribute both to the research of his mature philosophy as well as to research in Greek philosophy / O trabalho a seguir se insere numa proposta geral que visa apresentar aspectos das filosofias de Heráclito e Parmênides através dos cursos ministrados por Bergson na Universidade de Clermont-Ferrand entre 1884 e 1898, período anterior a publicação de sua primeira obra Ensaio sobre os dados imediatos da conesciência. Ressaltaremos a perspectiva de Bergson em relação às doutrinas de Heráclito e Parmênides, de modo a tornar claros os efeitos restauradores de sua interpretação capaz de renovar os conceitos caros a esses filósofos, da mesma forma que torna patente traços de sua filosofia futura. Acreditamos que um estudo aprofundado dos cursos de Bergson contribui tanto para a pesquisa das obras de sua filosofia madura quanto para a pesquisa no campo da filosofia grega