Thèse réalisée en cotutelle avec l'Université de Provence au sein du département d’études cinématographiques, U.F.R. Lettres et Arts, L.E.S.A. École doctorale Lettres, Langues et Arts. Soutenue publiquement à l'Université de Provence le 16 juillet 2010. / Un film problématise en images et en sons ce dont il traite. Le type d’analyse faisant apparaître cette relation étroite entre les formes du contenu et les formes de l’expression est l’analyse figurative. En voici la méthode exposée par Nicole Brenez en 1998 dans De la figure en général et du corps en particulier. Tout d’abord, il doit être admis que le film prime sur son contexte. Ensuite, les composantes d’un film sont des éléments. Puis, ces éléments sont autant de questions. Enfin, le cinéma problématise ce dont il traite. Seulement, ces quatre présupposés ne vont pas de soi. Ils induisent un double mouvement : le film pose des exigences à l’analyse que seule l’analyse rend visibles. Ce double mouvement dépasse le film pour questionner le cinéma. Cette thèse a pour but de démontrer que, d’une part, l’analyse figurative trouve ses fondements dans l’histoire du cinéma et que, d’autre part, grâce à des analyses figuratives, nous pouvons mettre à jour des changements dans le fonctionnement des images, du montage, des personnages. La méthodologie de l’analyse filmique repose par conséquent sur une étude historico-esthétique des formes cinématographiques. Or, ces formes sont autant de façons de penser le cinéma et de penser au cinéma. C’est précisément la circulation entre les formes du contenu, les formes de l’expression et les formes de l’analyse qui rend visible ce champ sensible d’expérimentations qu’est le film – une pensée-cinéma. / What is a cinematographic thought? A film theorized with images and sounds what it is dealing with. The methodology of film analysis which reveals that close relationship between images, sounds and thought is figurative. It was exposed in Nicole Brenez De la figure en général et du corps en particulier in 1998. First, the analyst must consider that the film is more important than its context. Next, its components shall be understood as elements. Then, those elements are regarded as questions. Finally, the film has to be considered as an interrogation of its subject. However, those four steps aren’t necessarily clear. They lead to a double thought: the film forces the analysis to include elements that are only made visible with the analysis. This double thought goes beyond the film and questions cinema itself. This study’s aim is to prove that a figurative analysis finds its foundations within the history of cinema, and due to these analyses, the changes regarding the construction of the image, editing, and character can be revealed. This methodology lies on an historical and aesthetic study of the cinematographic forms. Those forms are the way cinema thinks. Emerging from this relationship of a form, its expression, and its analysis is a sensitive field of experimentations: a cinematographic thought.

Por meio de nove atmosferas distintas, distribuídas em três capítulos, construiu-se um esboço de cartografia teórica de alguns estudos educacionais voltados à filosofia das multiplicidades de Gilles Deleuze & Félix Guattari, a partir da seguinte questão: o que se passa entre a educação e o plano de pensamento desses autores? As atmosferas anteriores e o primeiro capítulo dizem da construção do objeto da presente pesquisa: desde sua errância até a opção por tal plano de pensamento, e não outro. No segundo capítulo, são selecionados e apresentados alguns conceitos que permitem considerar a educação escolar na ausência do sujeito da educação, tradicionalmente tomado como fundamento e fim último da lida pedagógica; daí a opção pela concepção de aprendizagem de Deleuze. No último capítulo, questiona-se o lugar da identidade como ficção psíquica que a escola tem auxiliado a construir desde sua fundação, assim como se discutem os devires da educação por meio da análise dos efeitos de ruptura, resistência e criação materializados em 11 textos que enfrentam a tradição pedagógica com novas armas. Municiados de conceitos do plano de pensamento de Deleuze & Guattari e de outros criados a partir deste, os autores realizam uma experimentação que esgarça as concepções de representação e de recognição acopladas à idéia de sujeito da educação, expondo os artifícios de produção e corrupção das subjetividades pelo capitalismo. A última atmosfera, abraçando o derradeiro texto de Deleuze: Imanência: uma vida..., dedica-se a recolher os efeitos de ressonância captados por tal linha minoritária do pensamento educacional atual, a qual enseja fomentar as chances de a escola tornar-se lócus privilegiado de composição de forças desejantes capazes de ampliar a potência de dizer sim a outras formas de existência; existências dispostas, se necessário for, a criarem \"máquinas de guerra\" afeitas a desintegrar tudo o que ofusca a vida, seja na escola, seja fora dela. / Through nine different atmospheres, distributed in three chapters, it was outlined a theoretical cartography of some studies addressed to Gilles Deleuze & Félix Guattari\'s philosophy of multiplicities, from the following question: what happens between education and the plane of thought of these authors? The Previous atmospheres and the first chapter are on the building of the object of this research from its roaming to the option for such a plane of thought, and not any other one. The second chapter deals with some concepts that allow us to think school education while in the absence of the subject of education, traditionally considered the purpose and the ultimate end of the pedagogical task; thus the reason for the option for Deleuze\'s pedagogical concept. The last chapter argues which is the place of identity as psychic fiction that school has helped us to build since its origins, as well as it discuss the coming-to-be of education through the analysis of the effects of disruption, resistance and e creation developed in 11 essays that face the pedagogical tradition with new weapons. Furnished with the concepts of Deleuze & Guattari\'s plane of thought, and with other ones created from them, the authors make an experimentation that tears apart the conceptions of representation and of recognition connected with the subject\'s idea of education, unveiling the artificialities of production and corruption of the subjectivities by capitalism. The last atmosphere, which embraces Deleuzes\' final essay: Immanence: a life..., gathers the resounding effects picked up by this minor part of the present educational thought, which wishes to promote chances of the school to become privileged locus of the composing of desiring forces able to enlarge the potency to say yes to other forms of existence; forms willing, if necessary, to create \"war machines\" used to disintegrating everything that hinders life, be it at school, or outside it.

Esta tese se divide em duas partes. Na primeira parte serão expostas as escolas e teorias mais importantes para o conceito de sentido. Na segunda parte será exposto o conceito de sentido espectral. A primeira seção é monográfica e trata de investigar o conceito de sentido em quatro diferentes campos das ciências humanas: a lógica, a linguagem, a fenomenologia e a teoria dos sistemas. A segunda traz a proposição teórica do conceito de sentido espectral e o discute em função de diagramas de comunicação e sentido. Com isso, a discussão da primeira parte deste trabalho deverá introduzir as dimensões do conceito de sentido que, por sua vez, serão relacionados com certo padrão de difusão e consumo da informação. Essa relação entre os modos de produção das matrizes de media e um determinado conceito de sentido é explorada ao longo de todo o trabalho. Espectral, com isso, é uma metáfora para a particular produção de sentido do ambiente digital. Esse campo do sentido eletrônico será descrito e delineado em contraposição às metáforas não-espaciais de difusão do ciberespaço, que sugerem um campo aberto de aceleração e expansão não comensurável. Desse modo, o conceito de sentido espectral apresentará dois blocos de elementos complementares cuja finalidade é vincular as metáforas não-espaciais, exteriores e difusas do ciberespaço, com uma descrição dos mecanismos interiores desse sentido digital. Esses mecanismos serão descritos teórica e graficamente por meio de cinco componentes: serialização, aglutinação, seleção, nódulos e disrupção. Essas operações, por sua vez, percorrem uma superfície cujos movimentos são simultaneamente concêntricos e arborescentes. A descrição desse movimento será feita por meio de três circuitos: círculos interiores, círculos exteriores e círculos crescentes. A superfície, por sua vez, será descrita com o conceito de anéis de cebola. A vinculação entre as camadas concêntricas e a superfície do ciberespaço conforma o próprio conceito de sentido espectral. / This thesis is divided in two parts. The first part discusses the most influential schools and theories regarding the concept of meaning. The second part presents the concept of spectral meaning. This first section is monographic and consists in an investigation into the concept of meaning within four different fields of human sciences: logics, language, phenomenology and social systems theory. The second section presents the theoretical thesis concerning the concept of spectral meaning and discusses it in the light of communication and meaning diagrams. Therefore, the first part of this work introduces the varied understandings of the concept of meaning which, in a second phase, will be related to specific patterns of information and communication. This relationship between modes of production across different media matrices and a given concept of meaning is continually explored throughout the thesis. Spectral is, therefore, a metaphor for the specific production of sense in the digital environment. This field of electronic meaning will be described and portrayed in opposition to the non-spatial metaphors of diffusion that haunt the cyberspace, regularly depicting it as an open and incommensurable field of acceleration and expansion. Accordingly, the concept of spectral meaning will present two sets of paired elements in order to connect the non-spatial, diffusive and exterior metaphors of the cyberspace with a representation of the electronic meaning and its internal mechanisms. These mechanisms will be described theoretically and graphically along five main components: serialization, netclustering, gatekeeping, nodes and breakthrough. These operations, on the other hand, go through a surface whose activity is both concentric and arborescent. The description of this movement will be target along three cycles: inner circles, outer circles and growing circles. The surface itself, conversely, will be described with the concept of onion rings. The connection between the concentric layers and the cyberspace surface comprehends the concept of spectral meaning itself.

Die Arbeit folgt dem Frontier-Mythos, einer Narration, die für die US-amerikanische Kultur von grundlegender Bedeutung ist. Der Gang von Ost nach West, den die Erschließung und Kultivierung des Kontinents beinhaltete, formierte auf verschiedenen Feldern eine mythologische Erzählung: in der Literatur- und Politikgeschichte und in einer Unterhaltungskultur, die um die Mitte des 19. Jahrhunderts in Form von Groschenromanen oder Wild-West-Shows entstand. Die thematischen Hauptaspekte der Arbeit richten sich auf Geographie, Technologie und Verkehr. Buffalo Bill''s Wild-West-Show, die die Geschichte der frontier als Kampf zwischen Zivilisation und Natur, also modernen Amerikanern und indianischen Ureinwohnern, erzählt, stellt dazu den Cowboy, personifiziert durch den Show-Impresario William F. Cody, in den Mittelpunkt. Der selbst in Bewegung befindliche Showbetrieb korrespondiert dabei der Geschichte, die er erzählt. Mehrere Tourneen nach Europa leisten zudem einen Mythentransport zwischen Alter und Neuer Welt. Dabei geht es insbesondere um die Betonung einer Differenz zwischen zeitlicher Vertikale und räumlicher Horizontale: also zwischen der statisch organisierten Ordnung des europäischen Königshofes (Ahnentafel) und der dynamisch verfassten sowie auf Brüderlichkeit gegründeten amerikanischen Demokratie (moving frontier). Dieses Muster diskutiert die Arbeit anhand von Mark Twains Roman "A Yankee from Connecticut on King Arthur''s Court" und Herman Melvilles "Moby Dick". Letzterer belegt, wie die phantasmatische Energie des Frontier-Mythos auch dann noch insistiert, als der Kontinent erschlossen und der Pazifik erreicht ist: als Kreiselbewegung um den Globus selbst. Hier scheint bereits ein imperialistisches Muster auf, das die USA im Zentrum einer neuen Weltordnung sieht. "Als ob sich die Welt gerade in Amerika gerundet hätte", dieses titelgebende Diktum entstammt Deleuze/Guattaris "Mille Plateaux", das im Hinblick auf seine psychogeographischen Implikationen eine Rahmentheorie der Arbeit bildet. Wie sehr die grundlegende mythische Narration vom Wilden Westen weltpolitische Konsequenzen zeitigt, belegt exemplarisch der letzte Teil der Arbeit, der den Einsatz des Hollywoodregisseurs und Westernspezialisten John Ford in Diensten des Auslandsgeheimdienstes OSS während des Zweiten Weltkriegs zum Thema hat. / The study examines the frontier myth, a narration that is of fundamental importance for the culture of the United States. The path from East to West, which includes the conquering and cultivation of the continent, forms on various levels a mythological narration: in literary and political history as well as in the entertainment culture that arose in the middle of the nineteenth century through penny novels and Wild West shows. The study’s main thematic areas focus on geography, technology, and transportation. In Buffalo Bill’s Wild West show, which narrates the history of the frontier as the battle between civilization and nature (i.e., between modern Americans and Native Americans), the cowboy as personified by the show’s impresario William F. Cody takes center stage. American show business, which was literally underway, thus corresponded with the story/history it told. Several tours to Europe additionally succeeded in transporting the myth from the new to the old world. In particular, this myth-transportation emphasizes a difference between temporally vertical and spatially horizontal planes, i.e., between the static order of the European royal court (family tree) and the dynamically conceptualized American democracy founded on fraternity (moving frontier). The study discusses this model through Mark Twain’s novel A Yankee from Connecticut on King Arthur’s Court and Herman Melville’s Moby Dick. The latter novel evinces how the phantasmagoric energy of the frontier myth even persists when the continent has been conquered and the Pacific Ocean reached – persists as the circular movement around the globe itself. An imperial model thus comes to light that sees the USA at the center of a new world order. The title of this study – “As if the world first became round in America” – comes from Deleuze and Guattari’s Mille Plateaux and its psycho-global implications offers a guiding theory for the work. The extent to which the foundational, mythical narration of the Wild West bears world-political consequences is demonstrated in the last part of the study, which investigates the deployment of the Hollywood director and Western specialist John Ford in the foreign secret service (OSS) during the Second World War.

Made available in DSpace on 2016-04-26T18:16:11Z (GMT). No. of bitstreams: 1 RODRIGO FONSECA.pdf: 597625 bytes, checksum: 676f225f8f2cdf1a70b0edd1e60260ad (MD5) Previous issue date: 2007-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main issue of this thesis is concerned to the listening and it's compositions in view of the experimental ways of frequentation of the architecture person-to-person in the internet. They will be approached, as empirical corpus, practices of sonorous compositions spread through site-programs like soulseek.org and known as bootleg mash ups. The research tries to demonstrate the difficulties coming from the specutations of the thought when dealing with the investigation how the sensations in the listening,make some contagious, encouraged by collective affects linked to the temporalities of the technology and the musical creation. The conceptual basis of this thesis leans on the approximation among the echoing ideas of F. Nietzsche, Gabriel Tarde, Henri Bergson, F. Pessoa, Gilles Deleuze and F. Guattari. The purpposal is to discuss, from the conceptions that these authors brought to the problem of the imagem in the thought, what changes about the sensation of listening when the image of the thought changes.In such a way this work adopts the contribution of the "thought of the haecceitas", trying to re-imagine the creative virtualities of the Time in the composition of the musical listening. Accorded to this conception, instead of abiding by the practice of cutting and pastting sonorous elements, the desktop's composer will need to invest previously in an experimental economy of rhythms and images of the Time to potencialize the sensations in the listening. From this premise, it is asserted that the creative performances of musical listening, stimulated by the ways of conviviality into the sites peer-to-peer, need to interfere in the regimes of perception, sense and the image that the subjectivity aquires in the stereotyped cadences of the internet. Such practices present themselves as an heteronymic poetical activity, with an invenctive resistence to the recent technological processes of subjectivation. To achieve this level, the compositional listening needs to go beyond the reccuring stable regimes of the sound, the sign, the space, the phenomenon, the sense, the techinque and the musical logos in the transcndentalimage of thought. From this creative battle in a saturated enviroment of axioms, the musical composition faces up the problem of retitute singular in the sensation, to transduce the wills and to make a contagious of the sensivity virtualities into the thought of the listening / A questão principal desta tese diz respeito à escuta e suas composições face aos modos experimentais de freqüentação das arquiteturas person-to-person na internet. Serão abordadas, como corpus empírico, práticas de composição sonora disseminadas por meio de sites-programas como o Soulseek.org e conhecidas pelo nome de "bootleg mash ups". A pesquisa tenta demonstrar as dificuldades das especulações do pensamento quando se trata de indagar como as sensações na escuta se contagiam, animadas por afetos coletivos ligados às temporalidades da tecnologia e da criação musical. A fundamentação conceitual da tese se ampara na aproximação entre idéias ecoantes de Duns Scott, F. Nietzsche, G. Tarde, H. Bergson, F. Pessoa, G. Deleuze e F. Guattari. O objetivo aqui é demonstrar, a partir das concepções que estes autores deram para o problema da imagem no pensar, o que muda na sensação da escuta ao se mudar a imagem mesma do pensamento. Para tanto, este trabalho adota as contribuições do "pensamento das hecceidades" para tentar re-imaginar as virtualidades criativas do Tempo na composição da escuta musical. De acordo com esta concepção, em vez de se ater à prática de cortar e de colar elementos sonoros, o compositor de desktop precisará antes investir numa economia experimental de ritmos e de imagens do Tempo para singularizar sensações na escuta. A partir desta premissa, afirma-se que as performances criativas da música, estimuladas pelos hábitos de convívio nos sites peer-to-peer, precisam interferir em regimes de percepção, de sentido e da imagem que a subjetividade adquire nas cadências estereotipadas da internet. Tais práticas apresentam-se como uma atividade poética heteronímica, de resistência inventiva aos recentes processos tecnológicos de subjetivação. Por tal razão, a escuta compositora necessita ultrapassar os regimes estáveis do som, do signo, do espaço, do fenômeno, do sentido, da técnica, do logos musical recorrentes na imagem transcendental do pensamento. A partir do embate criativo num ambiente saturado de axiomas, a composição musical enfrenta o problema de restituir o singular na sensação, de transduzir vontades e de contagiar virtualidades sensíveis na escuta e no seu pensamento

Percebendo no lentíssimo voo dos aeromodelos F1D um sublime que a aceleração contemporânea subtrai à vida, a presente pesquisa busca formular hipóteses em torno ao fenômeno desacelerante desse voo; para tal, entendese a \"dúvida\" enquanto potência e o \"desconhecido\" como instância de liberdade. / Observing the F1D\'s slow flight, we can realize a sublime feeling that contemporary acceleration subtracts from life. Our research looks for hypotheses about this deceleration generated by the F1D; besides that, we take the \"doubt\" as potency and the \"unknown\" as a field of freedom.

<p>Through the notions of <em>the</em> <em>untimely</em> (l'intempestif) and <em>untimeliness</em> (intempestif) this paper seeks to gain a better understanding of the problematic surrounding and determining the concept of time in Deleuze. By tracing Deleuze's development of the concept of the untimely through Nietzsche and Kant, we are allowed to concretize the concept of time as pertaining to an experience of modernity (modern life), thus enabling us to better determine the place it holds within the philosophy of Deleuze itself - as a constitutive and productive problematic relating directly to the activity of thinking and being philosophically.</p>

<p>How is space conceptualized? The question is central to subject theory in human geography. In the present dissertation, this issue is actualized in discussions of the virtual, space, and an ontology of becoming. The point of departure is that in human geography, as well as in the general discourses in society, a science fiction-like conception of the virtual has been dominant. The virtual is understood as another reality and as an absolute space. Predominant perceptions of the space and the virtual are problematized in Space in Becoming, and based on analyses of complex sets of ideas grounded in actor-network theory and Deleuzian geophilosophy, an alternative approach is formulated. The aim is to provide an enhanced conceptual understanding of space and the virtual. In order to fulfill the aim, three tasks are performed. Firstly, the prevalent conception of the virtual is presented. Secondly, a conception of space grounded in an ontology of becoming is constructed and defined, expressed in three postulates. Thirdly, the importance of the ontology of becoming and the postulates for the conception and conceptualization of space are discussed in relation to subject theory in human geography. Since the present work centers on treatment of concepts and ideas, a postulate method was selected. The postulate method also makes argumentation and discussion on theoretical and analytical levels possible. The outcome of the project is formulated in three postulates – actants do space, assemblages fold space, and the virtual is a real dimension of space. Accordingly, the main contribution to the conceptual understanding of space and the virtual is the construction and specification of the three postulates. The notion of the virtual as an ontological dimension emerges, with direct implications for the conception and conceptualization of space. The ontology of becoming offers an alternative point of departure, a different perspective on the virtual, and thereby also on virtual geography. This is further elucidated by returning to the point of departure for the dissertation project. The postulates contribute to subject theory in human geography by providing an alternative point of departure for future theoretical research and the formulation of new theories. Accordingly, the particular conception of space expressed in the three postulates brings a challenge in terms of both method and vocabulary.</p>

How is space conceptualized? The question is central to subject theory in human geography. In the present dissertation, this issue is actualized in discussions of the virtual, space, and an ontology of becoming. The point of departure is that in human geography, as well as in the general discourses in society, a science fiction-like conception of the virtual has been dominant. The virtual is understood as another reality and as an absolute space. Predominant perceptions of the space and the virtual are problematized in Space in Becoming, and based on analyses of complex sets of ideas grounded in actor-network theory and Deleuzian geophilosophy, an alternative approach is formulated. The aim is to provide an enhanced conceptual understanding of space and the virtual. In order to fulfill the aim, three tasks are performed. Firstly, the prevalent conception of the virtual is presented. Secondly, a conception of space grounded in an ontology of becoming is constructed and defined, expressed in three postulates. Thirdly, the importance of the ontology of becoming and the postulates for the conception and conceptualization of space are discussed in relation to subject theory in human geography. Since the present work centers on treatment of concepts and ideas, a postulate method was selected. The postulate method also makes argumentation and discussion on theoretical and analytical levels possible. The outcome of the project is formulated in three postulates – actants do space, assemblages fold space, and the virtual is a real dimension of space. Accordingly, the main contribution to the conceptual understanding of space and the virtual is the construction and specification of the three postulates. The notion of the virtual as an ontological dimension emerges, with direct implications for the conception and conceptualization of space. The ontology of becoming offers an alternative point of departure, a different perspective on the virtual, and thereby also on virtual geography. This is further elucidated by returning to the point of departure for the dissertation project. The postulates contribute to subject theory in human geography by providing an alternative point of departure for future theoretical research and the formulation of new theories. Accordingly, the particular conception of space expressed in the three postulates brings a challenge in terms of both method and vocabulary.

Through the notions of the untimely (l'intempestif) and untimeliness (intempestif) this paper seeks to gain a better understanding of the problematic surrounding and determining the concept of time in Deleuze. By tracing Deleuze's development of the concept of the untimely through Nietzsche and Kant, we are allowed to concretize the concept of time as pertaining to an experience of modernity (modern life), thus enabling us to better determine the place it holds within the philosophy of Deleuze itself - as a constitutive and productive problematic relating directly to the activity of thinking and being philosophically.