Les Tiers Lieux correspondent à des environnements intermédiaires du domicile et de l’entreprise illustrés par les ateliers de fabrication numérique, fablabs, hackerspaces et espaces de co-working. Ces environnements révèlent une typologie d’usagers que sont les étudiants, les amateurs, et les travailleurs professionnels indépendants qui mettent à profit leurs compétences pour réaliser des projets individuels et ou collectifs. Ces projets suivant les modèles sont basés sur le « faire» et sur le « mode projet ». La recherche analyse la manière dont ces environnements se développent sur le territoire francilien et dans différents secteurs : institutionnel, culturel, associatif, et entrepreneurial dans un monde complexe, accéléré et engagé dans le numérique. Pour analyser les Tiers Lieux et rendre compte de leur développement dans la société, nous introduisons une posture critique (interactionnisme critique) qui discute des effets de ces environnements auprès de leurs usagers, en considérant leurs sociabilités et les différents équipements techniques et technologiques existant.La thèse porte également sur l’informatisation sociale comme processus de convergence des TIC dans les activités humaines internes aux Tiers Lieux. Le rapport au capitalisme cognitif (moteur de recherche, plateformes numériques de diffusion de la connaissance et réseaux sociaux) est discuté, lequel s’illustre par une accumulation de la connaissance et de la créativité (investissement immatériel) à travers l’utilisation des TIC par et pour les porteurs de projets. / The Third Places correspond to intermediate environments of home and business illustrated by digital manufacturing workshops, fablabs, hackerspaces and co-working spaces. These environments reveal a typology of users that are students, amateurs, and independent professional workers who use their skills to achieve individual and collective projects These projects following the models are based on the "doing" and on the "Project mode". The research analyzes the way in which these environments develop in the Paris area and in different sectors: institutional, cultural, associative, and entrepreneurial in a complex, accelerated and digital world. To analyze the Third Places and give an account of their development in society, we introduce a critical posture (critical interactionism) that discusses the effects of these environments on their users, considering their sociability and the different technical and technological equipment available. The thesis also focuses on social computerization as a process of convergence of ICTs in human activities internal to the Third Place. The relationship to cognitive capitalism (search engine, digital platforms for the diffusion of knowledge and social networks) is discussed, which is illustrated by an accumulation of knowledge and creativity (intangible investment) through the use of ICTs by and for the project leaders.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-06-26T13:24:19Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Karoline Coelho de Andrade.pdf: 7349201 bytes, checksum: 2657e5ca4969dd513ee8b3dea23cd5e8 (MD5) / Made available in DSpace on 2018-06-26T13:24:19Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Karoline Coelho de Andrade.pdf: 7349201 bytes, checksum: 2657e5ca4969dd513ee8b3dea23cd5e8 (MD5) Previous issue date: 2018-03-22 / O presente estudo teve como objetivo analisar os discursos e práticas que envolveram a implantação das Unidades Paraná Seguro, e a referente atuação policial, na cidade de Curitiba, durante os anos de 2012 a 2015. Para atingir este objetivo utilizou-se de uma metodologia qualitativa, por meio de um estudo de caso das UPS em Curitiba, pautada em pesquisa documental e bibliográfica. Foram mobilizados campos teóricos interdisciplinares, mas com um objeto de estudo em comum: a polícia. Em um primeiro momento, recorreu-se à análise histórica da polícia, tanto em seu desenvolvimento europeu, quanto brasileiro, como também às teorizações dos policing studies com o intuito de compreender a polícia, bem como a fim de descrever suas transformações ao longo do tempo. Em seguida, o trabalho voltou-se para análise empírica das Unidades Paraná Seguro para estabelecer seus contornos: além de analisar os discursos e práticas, também procurou-se examinar o contexto socioeconômico de Curitiba e, mais especificamente, dos bairros selecionados para implantação das Unidades. A partir dos dados colhidos e da compreensão atenta da polícia sob a perspectiva histórico-sociológica, pode-se perceber uma falta de correspondência entre o que as Unidades foram, a partir do trabalho policial realizado, e a maneira como é compreendida a polícia nesses dois campos de estudo. Assim, tanto a matriz histórica, quanto os policing studies compreendem a polícia em sua face tão somente repressiva – a polícia como instrumento do monopólio da força do Estado que foi embrutecida pelas características históricas do Brasil. Para realizar uma análise que pudesse compreendê-la da forma mais integral possível, recorreu-se à filosofia de Michel Foucault, formulando-se a hipótese de que as Unidades Paraná Seguro seriam, além de formas de atuação da polícia-repressão, também uma forma de mobilizar o aparelho policial no sentido de transfigurar a polícia em um agente bioeconômico da cidade. O programa foi dividido entre UPS-Segurança, encarregada dessa faceta repressiva, e UPS-Cidadania, como forma de permitir a inclusão da comunidade e de seu território nas veias do capitalismo cognitivo com a proposta de resolver problemas atinentes à vulnerabilidade social e de levar cidadania às comunidades. Em última instância, pode-se perceber que, além da atuação biopolítica da polícia, o programa procurou desenvolver uma forma específica de cidadania, a qual atribuímos o nome de cidadania governamentalizada, por tratar-se da inclusão da vida em novas formas de controle a partir do elemento econômico travestida de desenvolvimento da dimensão política, social e democrática da cidadania. / The present study aims to analyze the discourses and practices that involved the implementation of the Paraná Security Units and the related police action in the city of Curitiba, during the years of 2012 to 2015. For achieve this purpose a qualitative methodology was used through of a case study of UPS in Curitiba, based on documental and bibliographic research. Interdisciplinary theoretical fields were used with an object in common: the police. At first, we resorted to the historical analysis of the police, both in its European and Brazilian development. At second, we used the policing studies like a primary source to understand the police, as well as their transformations throughout the time. Next, the work turned to the empirical analysis of the Paraná Security Units to establish their contours: in addition to analyzing the discourses and practices, it was also sought to examine the socioeconomic context of Curitiba and, more specifically, the neighborhoods selected for the implementation of the Units. Starting from the data collected and the police's careful understanding of the historical-sociological perspective, one can perceive a lack of correspondence between what the Units were, based on the work performed, and the way police are understood in these two fields of study. Thus, both the historical matrix and policing studies understand the police on their only repressive side – the police as an instrument of the monopoly of the state force that has been brutalized by the historical characteristics of Brazil. To carry out an analysis that could comprehend it in the most integral way possible, one resorted to the philosophy of Michel Foucault, formulating the hypothesis that the Paraná Security Units would be, besides forms of action of the repressivepolice, also an instrument by which police become a bioeconomic agent of the city. The program was divided between UPS-Security, responsible for the repressive facet and UPS-Citizenship, to allow the inclusion of the community and its territory in the veins of cognitive capitalism with the proposal to resolve problems related to social vulnerability and to carry citizenship to communities. In the last instance, in addition to the biopolitical action of the police, the program tried to develop a specific form of citizenship, which we named governmentalized citizenship, to mean the inclusion of the life in new forms of control from the economic element, even if presented as a way of developing the political, social and democratic dimension of citizenship.

Cette thèse vise à examiner les formes de l'action collective et de l'être-avec tendanciellement imposées par l'hégémonie du crowdsourcing. La notion de crowdsourcing désigne l'appropriation des mécanismes collaboratifs du web 2.0 par des secteurs d'activité originellement étrangers à son influence : design de vêtements, conceptionde biens durables, ingénierie de véhicules, challenges sociaux, etc. Tandis que la plupart des travaux se penchant sur ce phénomène se tient au dedans d'un cadre conceptuel emprunté à l'économie politique, cette recherche s'efforce plutôt d'examiner la spécificité des régimes organisationnels et interactionnels propres à cesplateformes : ce sont ainsi les processus de subjectivation individuelle et collective qu'informent ces dispositifs qui suscitent ici l'intérêt de la recherche.Cette réflexion s'articule autour de cinq axes d’analyse distincts. Un axe économique d’abord, visant à re-situer l’actuelle hégémonie de ces dispositifs au plus près des dynamiques de long terme du capital. Un axe organisationnel ensuite, examinant l’inclination de ces plateformes à suspendre la félicité de l’action collective à la fluidité, la multiplicité et l’hétérogénéité des contributions qu’elles coordonnent. Un axe technique encore, s’efforçant d’analyser les procédés équipant cette coordination depuis la condition de fluidité, de multiplicité etd’hétérogénéité que lui assignent ces dispositifs. Un axe interactionnel ensuite, analysant les agencements d’énonciation ainsi articulés par ces procédés techniques et impersonnels de coordination. Un axe existential enfin, visant à examiner les processus de (dé)subjectivation individuelle et collective auxquels ces agencements exposent leurs utilisateurs.Chacun de ces axes est ainsi construit autour d’une analyse ethnographique sérielle de différents dispositifs - notamment Yelp, TripAdvisor, OpenIDEO, Local Motors et Quirky - visant à dissoudre les spécificités propres àchacune de ces plateformes dans la dispersion des schèmes - organisationnels, techniques, interactionnels, énonciatifs, existentiaux - qui s’y répètent. / The aim of this thesis is to examine the underlying forms of collective action and beingwith imposed by the hegemony of crowdsourcing. The concept of crowdsourcing refers to the appropriation of collaborative mechanisms of Web 2.0 by industries that are originally outside it’s influence: fashion design, conception ofdurable goods, automotive engineering, social challenges, etc. While most studies addressing this phenomenon draw their conceptual framework from the domain of political economy, this thesis will on the contrary endeavour to study the particularities of the organizational and interactional regimes specific to crowdsourcing platforms. It is thus the processes of individual and collective subjectivation that are given form by these platforms that arouse interest for such research.This study is articulated around five distinct lines of research. The first line is economic; the goal is to situate the present dominance of crowdsourcing apparatuses in close relation to the long term dynamic of capital. The second line is organizational; it aims to examine the inclination of such platforms to condition the felicity of collective action by the fluidity, the multiplicity and the heterogeneity of the contributions they coordinate. The third line is technical; it seeks to analyse the processes that enables coordination under the condition of fluidity, multiplicity and heterogeneity that are allotted to these platforms. The fourth line is interactional, it analyses the assemblages of enunciation that are articulated by these technical and impersonal processes of absencecoordination. The fifth and final line is existential, it will examine the individual and collective (de)subjectivation processes to which these assemblages expose their users.Each of these research lines is developed on a serial ethnographic analysis of various platforms - namely Yelp, TripAdvisor, OpenIDEO, Local Motors and Quirky - in order to break down the specificities of each of these platforms into the repetition of organizational, technical, interactional, enunciative and existential patterns.

This doctoral project examines the knowledge economy as understood under the hypothesis of cognitive capitalism and its impact on contemporary social art practice, in particular the educational turn in art, taking account of its conditions of production within the local site of official art education at an elite university. In a counter movement, this research searches for the 'becoming cognitive of labour', a peculiar quality of the present transition, where knowledge production and the reconfiguration of labour intersect within the overshadowing hypothesis of cognitive capitalism. In response to contemporary approaches assigned to knowledge production, appropriation of the general intellect and the educational paradigm, as a practice-led research project, I devised three performative interventions premised on aestheticised withdrawal (taking account of exodus theorists) and agonistic tendency (radical negativity) to take risks and to 'struggle within and strategically against' the institution, drawing on the radical pedagogy of Paolo Freire who created an approach to emancipatory education through which to transform systems of oppression and inequality, the self-governing frameworks of the educator Ivan Illich, and Jacques Rancière who locates oppression and subjection in the noble act of 'explication'. Drawing on this, I've pursued a novel form of 'writing as activism' that allowed me to unravel dividing points between the practice of art and its theory, critically engaging with and dismantling the academic form of essay through a process of streaking, rupture and montage. As a 'work of words', this allowed me to integrate the practice and theory in one, where the thesis is withdrawn and does not make an appearance. The practice of art determines the theoretical conditions and critical context, but is not subordinate to these conditions. In this way I could construct something meaningful and complex in an unconventional way that requires other ways of reading and interpretation. I disembark from the recent field of expanded academia and the 'educational turn' in art and curating, approbated by cultural theorists and artists since the mid 1990's. While addressing the current crisis in neoliberal education and its direct link to cognitive capitalism's knowledge enclosures, in which the doctorate in art was fiercely debated, these modes of emancipatory educational 'turning' seldom found traction inside the official educational art institution itself. Rather, as an expanded idea of the academy, these critical strategies were articulated through the global museum and biennale. However, if we are to maintain that the university is the critical core of the public realm, rather than escaping it or allowing ideological contention and dissensus to be smoothed over and disciplined, this research - in and through art as 'struggle' and as 'a process of intelligibility' - re-thinks the educational turn in art by opening up and maintaining a space of crisis and critical relationship with its institutional conditions of production and the forms of labour sustaining it as it emerges from academia itself. Using a gendered agonistic research method with its attendant discourse of resistance, I expose how gender is made invisibile within the flattening paradigm of immaterial labour and its overarching frame of cognitive capitalism. I explore how the production and reproduction of knowledge can be organised and made common and how it might break with capitalist capture, how a resistant form of knowledge production might be found on the frontier of the university. Through a dramatisation of practice that is a compelling instance of the theory, I explore an alternative production of knowledge - a (becoming) learning process where the subject 'I', who is constituted in language, talks back, a mode of counter speech as a condition of my agency and potentiality. It is in, at, and around the official educational site of the university that I make an inquiry into the economic and political tendencies at work, and locate non-compliant labour as a way to open up an educational 'turn' towards regimes of discipline, authority and control. By conclusion, if the educational 'turn' in art is to fully realise its emancipatory dimension it must not only align itself to the extra-institutional realm of the artworld, but must forge a counter turn inside the official educational art institution, the primary site of education's struggle and agency. Art production inside the educational institution is profoundly fundamental to a political and philosophical 'turning' towards a critique of contemporary arts new relations of production and reception under capital, to renew once more arts political and transformative potential. This research is an emphatic refusal of fatalism about the status of the official educational institution whose ailments I diagnose throughout. It is an original contribution to the debate on the educational turn and demonstrates when educators and students together, and in common, 'turn' in struggle within and against the institution, they can create transformative strategies of engagement with the institution of knowledge. It is not yet the time to abandon the official education institution entirely.

The essay acts as a blueprint over my artistic practice. It is through the friction caused by th relations between the Keywords mentioned above I strive to achieve a dynamic which will act as an interlocutor between the fields, which are not separated but which fail to understand each others' logic and instead more or less intentionally seek to overwrite each other. / [I examensarbetet ingår utställningen: "Taking care of business":] The show was a total installation spanning over 7 days in which Studio Stök (Fredrik Fermelin and I) were constantly keeping the exhibition going: One room was filled with gelatine and lasers, was connected to another room by a tunnel in which a robotic vacuum cleaner constantly active. The other room was filled with +20 office chairs with incense sticks. Fredrik and I were never seen, but for 13 hours a day (07:00am-06:00pm), we mopped up the water from the "melting" gelatin so people could walk, lightning new incense, switching vacuum cleaners and mixing playlists with binaural beats for the tunnel. It was a way of catering an immediate sensation experienced as a viewer, no textualization was presented and enunciated indicating the exhibition was to be read in a certain way, and no artist was present creating a somewhat eerie sensation of a presence or absence. The smells were carried through the exhibition by the draft from the open doors and each room thus pre-empted the other. . Each room had an entrance and people were thus entering from two directions, there was no wrong way of entering and experiencing, the choreography of the exhibition created a sort of moebious strip which ended as quickly as it had lasted. During the week various flash events were held where the backspace which in normal circumstances acts as the entrance was opened. Material: Various Teknik: Installation The exhibition and partially the essays was a completely collaboration between Cecilie Hundevad Meng and Fredrik Fermelin as the artist group Studio Stök. The Exhibition and the essay(s) was only indirectly connected. / <p>The essay was abstractly linked to the exhibition.</p>

Reputação tornou-se, no contexto contemporâneo, um valor que norteia os discursos e as atitudes de organizações e indivíduos na contemporaneidade. Para as organizações capitalistas tornou-se um ativo de geração e manutenção do seu valor de capital numa ambiência cada vez mais orientada pela intangibilidade, imaterialidade e no entendimento das significações produzidas pelos variados sujeitos contemporâneos integrados pelas redes de relacionamento virtuais suportadas pelas Tecnologias de Informação e Comunicação-TICs. O grande objeto tranformador dessa realidade, a comunicação, tornou-a um instrumento de poder e validador de legitimidade, inclusão ou exclusão. Ela tornou-se processo, saindo de sua ação funcional para exercer àquela demandada pelas organizações: a de agente de interação, entendimento e do nível de porosidade interna do entendimento das significações e demandas do ambiente externo. A pesquisa conduzida neste estudo projeta reputação sob as interpretações e as essências surgidas das falas dos sujeitos gestores das organizações, das classes e daqueles em interação em ambiente virtual de uma rede colaborativa, comparadas à norma e ao discurso global do Reputation Institute. Buscou-se entendimento sob a ótica dos individuos gestores da Comunicação e da Comunicação bem como das classes que os representam. Procurou-se tambem entender como o termo se manifesta na contemporaneidade, a partir do levantamento dos estudos produzidos no Brasil e em quais campos eles mais são produzidos. Com relação aos sujeitos organizacionais foram considerados os da gestão da Comunicação Corporativa, da gestão de Marca e Comunicação Institucional e da gestão de Relação com Investidores do Itaú- Unibanco; o gestor de Marketing/Comunicação e do negócio da Lecom-Comunicação Digital; da Comunicação Corporativa da SAP Brasil; representantes da Abracom-Associação Brasileira das Agências de Comunicação, do Conrerp/Sudeste/Sul-Conselho Regional de Relações Publicas e do IBRI-Instituto Brasileiro de Relações com Investidores. Reputação se manifesta, na pesquisa, como norma. Ela apresenta indicadores para uma gestão diferenciada de reputação, a partir das essências dos sujeitos participantes. Como norma, reputação se mostra como instrumento que assegura o controle de comportamentos de forma a alinhar práticas e discursos e atitudes que garantam confiança e credibilidade de acionistas, investidores, publicos de relacionamento e da sociedade. Na integração de todos os sujeitos, o estudo mostrou que é possível a arquitetura de um modelo gestor de reputação integrador sustentado nas variaveis humanas, que leve à evolução de todos os sujeitos a partir dos valores e normas que permeiam cada agrupamento e a partir do qual gera confiança e pode tornar a organização referencial de construção de novos valores e padrões normativos integrados / Reputation has become in a contemporary context, a value that guides speeches and attitudes of organizations and individuals in the contemporary present. For capitalist organizations it has turned in an asset of generation and maintenance of its capital value in an ambience of increasing orientation by intangibility, immateriality and understanding of meanings produced by varied contemporary actual subjects integrated by virtual relationships networks supported by Communication and Information Technologies - CITs. The great transforming object of this reality, the communication, it made the communication an instrument of power and a legitimacy, inclusion or exclusion validator. It has changed to a process, moving from its functional action role to perform those demanded by organizations such as: agent of interaction, and of the level of understanding internal porosity of the meanings and demands of the external environment. The research led in this tesis highlights reputation under interpretations and essences extracted from organizations managing subjects, their representative classes and those interacting in a collaborative virtual environment network speeches, compared to the standard and the global discourse of the Reputation Institute. The understanding was based on the perspective of Communication and the Capital Management individuals. Also sought to understand how the term is manifested (expressed) in contemporary times currently, based on the researches produced in Brazil and in which fields they are produced more , available in the research environment google. Regarding to organizational subjects this reseach considered the Management of Corporate Communications , Brand and Corporate Communications Management and Management Itaú Unibanco Investors Relationship; Manager of Marketing /Communications and Business of Lecom - Comunicação Digital; Corporate Communication of SAP Brazil; representatives of Abracom - Associação Brasileira das Agências de Comunicação; CONRERP / South East / Southern -Conselho Regional de Relações Públicas and IBRI - Instituto Brasileiro de Relações com Investidores. Reputation is manifested in the research as a norma. It presents elements for a noteworthy reputation management, based on the essences of the participating subjects. As a norm, reputation is seen as a path to ensure control of behaviors in order to align practices, discourses and attitudes to assure confidence and trust of shareholders, investors , stakeholders and society . The study demonstrated that is possible to design an integrating reputation management model supported by human variables and subjects integration, leading to the evolution of all subjects based on the values and standards instilled in each group and from which can generate confidence and may place the organization as a reference leader for new values and integrated normative standards

As redes de comunicação têm impulsionado um significativo deslocamento nos processos autorais de escrita, que adquirem nova dinâmica no meio digital, apresentando-se cada vez mais como uma ação interativa entre diferentes agentes criadores. Com base no pensamento de Michel Foucault sobre o tema da autoria, esta tese explora o significado desse deslizamento da posição do autor, ou da função-autor como propõe o filósofo, estruturada atualmente em uma rede de interações. A fim de construir uma reflexão sobre esse fenômeno, parte-se da pesquisa sobre a historicidade do conceito de autoria, buscando explorar as diversas constituições das práticas sociais da produção textual através da história, desde a Antiguidade até o momento atual das redes eletrônicas. Neste percurso, a Modernidade é reconhecida como o período específico no qual o processo autoral adquire uma configuração mais centrada no indivíduo, época em que também ganha espaço a noção de obra fechada e proprietária. Compreendendo a constituição da história como um processo complexo no qual se correlacionam diversas dimensões de acontecimentos, alguns aspectos que se articulam com esta questão são aprofundados na forma de intertextos. Deste modo, são abordados em diferentes capítulos os seguintes temas: as especificidades da linguagem do meio digital e suas implicações para a questão autoral; as transformações nas formas de criação e circulação dos bens intelectuais trazidas pelo advento do capitalismo cognitivo; as novas formas de validação da produção textual discursiva em publicações eletrônicas que estão sendo criadas como alternativas ao modelo editorial centralizado típico do meio impresso. Por último, com o objetivo de trazer elementos empíricos para a pesquisa, foram realizados estudos de observação participante e de observação nos sites Wikipédia e Overmundo, e também desenvolvidos um blog e um experimento wiki especialmente para a pesquisa. Com base nestes estudos, foi proposta uma tipologia da autoria interativa em rede, a saber: a colaborativa, quando o processo autoral se dá através do trabalho de duas ou mais pessoas que interagem na elaboração de um texto de forma cooperativa; e a dialógica, quando pode ser observada a interação dialógica entre um texto principal e intervenções na forma de comentários, compondo ao final um todo discursivo. Assim, através da articulação de diferentes reflexões teóricas com a pesquisa empírica, buscou-se compor um estudo abrangente do atual fenômeno da autoria interativa nas redes de comunicação. / Communication networks have driven a significant displacement in the authorship processes of writing, which acquire a new dynamic in the digital media, presenting themselves more and more like an interactive action between different creation agents. Based on the thought of Michel Foucault on the subject of authorship, this thesis explores the meaning of the sliding position of the author or author-function as the philosopher proposes, currently structured in a network of interactions. In order to build a reflection on this phenomenon, we start from the research on the historicity of the concept of authorship, trying to explore the various constitutions of the social practices of text production through history, from Antiquity to the present electronic networks times. In this route, Modernity is recognized as the specific period in which the authoring process acquires a more individual-centered setting, time when the notion of closed and proprietary work gains space. Taking the formation of history as a complex process in which correlate several dimensions of events, some aspects that articulate to this question are detailed in the form of intertexts. Thus, in different chapters are discussed the following themes: the specificities of digital media language and its implications for the authorship issue; the changes in the forms of creation and circulation of intellectual goods brought about by the advent of cognitive capitalism; new forms of discursive textual production validation in electronic publications that are being created as alternatives to centralized publishing model typical of print medium. Finally, in order to bring empirical elements for the research, were conducted sites participant observation studies and observational ones on Wikipedia and Overmundo, and also developed a blog and a wiki experiment specially for the research. Grounded on these studies, a typology of interactive authoring network was proposed, namely the collaborative one, when the authorship process is done throughout the work of two or more people interacting in the preparation of a text in a cooperative way, and the dialogic one, when a dialogic interaction between the main text and interventions in the form of comments, making the end a whole discourse, can be observed. Thus, through the articulation of different theoretical reflections with empirical research, we tried to make a comprehensive study of the broad phenomenon of interactive authoring in communication networks

Submitted by Rachel Pereira (rachelprr@yahoo.com.br) on 2015-12-17T17:39:09Z No. of bitstreams: 1 HVPS2015_Informação de Investimentos (b)_ECO-IBICT.pdf: 4738697 bytes, checksum: 1670ca06d985bdd247e91c2071c90c04 (MD5) / Made available in DSpace on 2015-12-17T17:39:09Z (GMT). No. of bitstreams: 1 HVPS2015_Informação de Investimentos (b)_ECO-IBICT.pdf: 4738697 bytes, checksum: 1670ca06d985bdd247e91c2071c90c04 (MD5) Previous issue date: 2015-05-04 / Pesquisa qualitativa em Ciência da Informação com o objetivo de explorar e mapear o dispositivo de informação e comunicação de investimentos no capitalismo global. Um estudo de caso exploratório é o ponto de partida para se examinar um tipo de dispositivo informacional e tecnológico de organização e controle da informação de investimentos e negociações em Bolsas (Exchanges) ― a mídia de investimentos. O estudo de caso concentra-se em um grupo chave de agências composto por três modelos paradigmáticos ― a Reuters, a Dow Jones e a Bloomberg, três fórmulas de organização e controle da informação de investimentos. A classificação das “agências de notícias financeiras”, sob o modelo clássico de “organizações de notícias” (news organizations) é problemática. Uma observação mais atenta revela a operação dessas organizações complexas e lança luz sobre o conceito de informação de investimentos. O estudo contribui para esclarecer a distinção entre os conceitos de notícias financeiras, informação financeira e informação de investimento. Em especial, destacaram-se os instrumentos especializados para operações de investimento: taxonomias de indústrias, índices e indicadores. Entender o papel desse dispositivo estratégico em seu aspecto de construto social no contexto do capitalismo cognitivo é revelador de processos políticos e econômicos subjacentes aos conceitos de “sociedade da informação” e “globalização”. Ao procurar entender a “informação que move mercados”, encontramos a especificidade da “informação de investimentos” e identificamos um segmento chave no interior da mídia financeira ― a “mídia de investimentos”, resultante dos processos de transformação social e das inovações tecnológicas em direção à constituição de um sistema capitalista global. As agências de informação e notícias financeiras mostraram operar em sua lógica própria ― financista e supranacional. A mídia de investimentos se apresenta, hoje, não apenas como protagonista dos processos de inovação tecnológica, mas também como operador linguístico ― códigos e discursos ― essencial aos mercados financeiros globais. / This work is a qualitative research in Information Science aimed at exploring and mapping an information and communication device essential to global markets. An exploratory case study is the starting point to examine a system of information organization and control in Stock Exchanges and financial markets― the investment media. The focus is a group of paradigmatic organizations ― Reuters, Dow Jones and Bloomberg. To categorize these organizations as "financial news agencies" under the classic model of "news organizations" is problematic. An in depth look reveals the operation of a complex social apparatus ― the “investment information”. The research aims to contribute to the distinction of the concepts of financial news, financial information and investment information, with emphasis on specialized investment tools ― industry taxonomies, indexes and indicators. Understanding the role of this strategic device as a social construct in the context of cognitive capilism reveals political and economic processes that are underlying the concept of “information society” and “globalization”. Focusing on the “information that moves the markets” we are able to identify a new quality of information ― the investment information ― and a specific segment of financial media ― the investment media. Investment information and investment media are part of the processes of social transformation and technological innovation that constitute a global capitalist system. The financial news agencies operate according to their peculiar logic ― a financial and supranational logic. The investment media are not only in the forefront of technological innovation but also play an essential role in global financial markets as linguistic operators of discourses and codes.

Submitted by Priscilla Araujo (priscilla@ibict.br) on 2016-06-29T17:29:59Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_Vladimir Sibylla_Final.pdf: 1362667 bytes, checksum: 4b9c2f5408b210664e6e2f207cf80c2a (MD5) / Made available in DSpace on 2016-06-29T17:29:59Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_Vladimir Sibylla_Final.pdf: 1362667 bytes, checksum: 4b9c2f5408b210664e6e2f207cf80c2a (MD5) Previous issue date: 2014-05-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Estamos diante hoje de um novo paradigma produtivo, o cognitivo. Esta mudança faz emergir um conjunto de conceitos que problematizam o modo como analisamos o papel do museu na contemporaneidade. A hegemonia das dimensões imateriais do trabalho está no âmago dessa mudança paradigmática. Esta nova centralidade impõe desafios analíticos e metodológicos para a Ciência da Informação e para a Museologia. Diante disso, outra compreensão de museu se anuncia: não mais centrada em uma relação contratualista, mas atenta à produção do comum; não mais restrita ao edifício ou ao território, mas relacionada com uma rede de redes; não mais a serviço do desenvolvimento de um público ou população, mas uma ferramenta para a autonomia da multidão; não mais focada no objeto ou no patrimônio, como o conhecemos, mas em nossas dinâmicas infocomunicacionais. Um não-museu, um pós-museu para além dos modelos da “obra aberta” e dos “lugares de memória”. Um museu do acontecimental, do encontro entre praxis e poiesis. Um museu-monstro, da excedência criativa da multidão: diante de seu levante na contemporaneidade, uma museologia da monstruosidade?. / We are facing now a new paradigm: the cognitive production. This change elicits a set of concepts that puts in problem the way we analyzed the role of the contemporary museum. The hegemony of immaterial dimensions of work is at the heart of this paradigm shift. This new centrality requires analytical and methodological challenges to the Information Science and Museology. Therefore, a new model of museum is announced: no more centered in a relationship focused on the social contract, but very attentive to the production of the common; no more restricted to the building or to the territory, but related to a network of networks; not more at the service of the development of a public or population, but a tool for the autonomy of the multitude; not focused more on the object or on our heritage, as we know, but in our communicational dynamics. A non-museum, a post-museum beyond the “open work” and the “sites of memory” models. A museum of the “acontecimental”, mixture of praxis and poiesis. A museum-monster of the creative exceedance of the multitude: in face of their uprising, a museology of monstrosity?.

Submitted by Priscilla Araujo (priscilla@ibict.br) on 2017-12-05T19:01:02Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) apropriacao e resistencias _final.pdf: 489863 bytes, checksum: ddb8bf2c08d7f67221fdfce6d4c6201c (MD5) / Made available in DSpace on 2017-12-05T19:01:02Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) apropriacao e resistencias _final.pdf: 489863 bytes, checksum: ddb8bf2c08d7f67221fdfce6d4c6201c (MD5) Previous issue date: 2016-11-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O trabalho disserta sobre a experiência da FLOK Society no Equador, enquanto desdobramento do Plano Nacional do Buen Vivir. O Plano do Buen Vivir 2009-2017 é o plano de governo do segundo mandato de Rafael Correa enquanto presidente do Equador que resgata o conceito ancestral de Sumak Kawsay, de uma vida boa, ou plena. A FLOK, ou o Buen Conocer, advoga que é necessário um bom conhecimento para a construção de uma vida boa, e para isso propõe a criação de uma Economia Social do Conhecimento, em contraposição ao Capitalismo Cognitivo. O trabalho foi baseado em pesquisa bibliográfica como base teórica para o estudo empírico sobre o tema proposto. Foram utilizados textos de David Harvey, Moulier Boutang e entre outros autores, que se concentram em analisar as formas de produção do capitalismo assim como a criação de valor no mundo contemporâneo e como o conhecimento é parte central nesse processo. Além disso, foram realizadas entrevistas com pessoas participantes do projeto (coordenadores, formuladores, acadêmicos) que ajudaram a entender o contexto em que ele se realizava e a sua situação atual. A partir dessa análise pode-se estudar a proposta da FLOK como alternativa às formas de apropriação do conhecimento por parte do capital internacional e imaginar uma sociedade diferente onde o conhecimento livre, aberto e comum é a base da produção coletiva. Propostas dessa magnitude, como não poderia deixar de ser, trazem consigo inúmeras contradições e questionamentos, além é claro de estar submetida aos rumos da política e da economia, tanto em nível nacional quanto em nível internacional. / The work discusses the experience of the FLOK Society in Ecuador, as part of the National Plan for Good Living. The Buen Vivir Plan 2009-2017 is the government plan of Rafael Correa second term as president of Ecuador that rescues the ancestral concept of Sumak Kawsay, of a good, or full life. FLOK, or Buen Conocer, advocates that good knowledge is needed to build a good life, and for this purpose it proposes the creation of a Social Economy of Knowledge, as opposed to Cognitive Capitalism. The work was based on bibliographical research as a theoretical basis for the empirical study on the proposed theme. We used texts by David Harvey, Moulier Boutang and others, who focus on analyzing the forms of production of capitalism as well as the creation of value in the contemporary world and how knowledge is central to this process. In addition, interviews were conducted with people who participated in the project (coordinators, policymakers, academics) who helped to understand the context in which it took place and its current situation. From this analysis, we can study FLOK's proposal as an alternative to the forms of knowledge appropriation by international capital and to imagine a different society where free, open and common knowledge is the basis of collective production. Proposals of this magnitude, as expected, bring with it numerous contradictions and questions, besides being subject to the directions of politics and economics, at national and international level.