Made available in DSpace on 2015-04-14T13:55:18Z (GMT). No. of bitstreams: 1 447790.pdf: 1204018 bytes, checksum: c4867d53c5956ae766dc04d823ee18d7 (MD5) Previous issue date: 2013-03-01 / This work aims to present the core of the conceptual framework of Gilles Deleuze s imanent ethics. Imanent ethics is referred here as a moral theory derived from the post-critical ontology which claims the absense of any transcendent principle to the process of formation of rules or moral norms. Instead, the imanent ethics theory sees in the genetic origin of reason itself the foundations of the practical rationality and action. / O presente trabalho tem por objetivo apresentar os principais elementos conceituais constitutivos da ?tica imanente de Gilles Deleuze. Por ?tica imanente entende-se uma teoria moral derivada da ontologia p?s-cr?tica que postula a n?o ader?ncia a qualquer princ?pio transcendente para a forma??o de regras ou normas morais. Pelo contr?rio, a ?tica imanente busca na origem gen?tica da pr?pria raz?o os fundamentos da racionalidade pr?tica e da a??o.

This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.

In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regimes of audiovisual thought. In the regime of the movement-image, such thought is constituted by two processes. The first, differentiation/integration, expresses a whole that changes through the intermediary of the shifting relationships between the objects and people on screen. The second, specification, gives images a determinate function in a sensory-motor schema, through which perceptions are linked to actions in rational intervals of movement. With the regime of the time-image, as I understand it, thought instead comes to mean, as Deleuze puts it in Foucault, to experiment and problematize, and “knowledge, power, and the self are the triple root of a problematization of thought” (95). It is my argument in this thesis that Deleuze’s work on cinema is of great utility in carrying out filmic analyses that seek to detect and draw out the consequences of strategies of filmmaking that make knowledge, power, and self problematic. Furthermore, such a mode of analysis is particularly valuable in attending to new films that confront us with novel means of organising problematic audiovisual thought. My arguments are made through consideration of two films each from four directors: Wong Kar-wai, Nuri Bilge Ceylan, Pedro Costa, and Apichatpong Weerasethakul. While there are many important differences between the works of these filmmakers, their films nevertheless lend themselves to an approach that seeks to determine how thought becomes problematic in specific cases. Similarities and resonances are brought out between these films and those that Deleuze uses himself in making his arguments and shaping his concepts, but I also identify new problems that we encounter in the works of these filmmakers, which extend the range of meaning of some of those concepts. One such concept that is of particular importance in this thesis is “belief in the world”. There is always something in those films that pass into the regime of the time-image that is asystematic, which breaks up and multiplies thought, multiplies the thinkers we are made to inhabit. Our relation to the world of the film is therefore unstable and uncertain, and calls for belief, since films themselves in this regime produce new links between humans and the world, rather than firmly establishing a realistic state of things, a temporal and spatial matrix that accords with that which we experience in everyday existence. Such films thus make us receptive to a thought different from that interiorised thought through which, as Nietzsche writes, the apparatus of knowledge abstracts, simplifies, and takes possession of the world and others (Will, no. 503, 274).

Submitted by Flávio Nunes (fnunes) on 2015-03-13T19:47:57Z No. of bitstreams: 1 LisianeMachadoAguiarComunicacao.pdf: 2006009 bytes, checksum: b5b8241d572e9d0e8aa2d8b2d7bdeac7 (MD5) / Made available in DSpace on 2015-03-13T19:47:57Z (GMT). No. of bitstreams: 1 LisianeMachadoAguiarComunicacao.pdf: 2006009 bytes, checksum: b5b8241d572e9d0e8aa2d8b2d7bdeac7 (MD5) Previous issue date: 2011-03-25 / Nenhuma / O conceito de cartografia, extraído do trabalho conjunto de Deleuze e Guattari, vem sendo utilizado por diversos campos do conhecimento, como um processo teórico-metodológico. Estudar os usos teórico-metodológicos da cartografia na comunicação significa trilhar percursos de pesquisa pouco realizados, que ainda estão se inventando, mas que necessitam de uma configuração própria, ou seja, descobrir a sua dimensão teórico-metodológica é um elemento crucial para se pensar a própria epistemologia da comunicação. Dessa forma, o objetivo central dessa pesquisa é investigar como se configuram os usos teórico-metodológicos da cartografia de Deleuze e Guattari em suas processualidades nos trabalhos acadêmicos do campo da comunicação. Para dar conta desse objetivo a pesquisa invoca a perspectiva epistêmica transmetodológica, que tem como premissa central, a confluência metodológica de diversas estratégias para trabalhar com as problemáticas comunicacionais. Logo, essa pesquisa não somente busca avançar sobre os usos da cartografia na área como, também, procura aprofundar sobre as dimensões teórico-metodológicas realizadas no campo da comunicação. / El concepto de cartografía, extraído del trabajo conjunto de Deleuze y Guattari, se ha utilizado en diversos campos del conocimiento como un proceso teórico y metodológico. Analizar los usos teóricos y metodológicos de la cartografía en los estudios de comunicación implica un camino poco explorado, pero que necesita de su propia configuración, o sea descubrir su dimensión teórica y metodológica es fundamental para pensar la propia epistemología de la comunicación. Por lo tanto, el objetivo central de este trabajo es investigar el modo en que se configuran los usos teóricos y metodológicos de la cartografía de Deleuze y Guattari en sus processualidades en los trabajos académicos del campo de la comunicación. Para alcanzar este objetivo el diseño de la investigación tiene como base la perspectiva epistémica transmetodológica, cuya premisa fundamental es la confluencia de diversas estrategias metodológicas para abordar las problemáticas de la comunicación. Por lo tanto, esta investigación no sólo pretende avanzar el estudio de la cartografía en el campo, sino que también busca profundizar en las dimensiones de los enfoques teóricos y metodológicos adoptados en el ámbito de la comunicación.

Made available in DSpace on 2016-04-27T17:27:03Z (GMT). No. of bitstreams: 1 Roberta Filgueiras Mathias.pdf: 699347 bytes, checksum: 6fe70c790b08a190f2db87e2125d6210 (MD5) Previous issue date: 2012-11-30 / The idea of this study is to analyze the work of Andrei Tarkovsky, a Russian filmmaker, especially the films Stalker and Mirror as from deleuzian categories, focusing on the perception of time presented in the books Space- Image and Time-Image. We intend to propose a direct relationship between the concept of crystal-image developed in Time-Image and Tarkovsky` s filmography, based on the understanding of the images as crystals reels, which rotate around its own axis, but beyond this rotation have a force that`s the time itself / Resumo A ideia desse estudo é analisar a obra do cineasta russo Andrei Tarkovski, principalmente os filmes Stalker e o Espelho a partir de categorias deleuzianas sobre o cinema, tendo como foco a percepção de tempo cinematográfica presente nos livros Imagem movimento e Imagem tempo. Pretendemos propor uma relação direta entre o conceito de imagem-cristal presente no livro Imagem-tempo e o cinema de Tarkovski, a partir da compreensão das imagens dos filmes citados como cristais cambaleantes , que giram através de um eixo, mas escapam dessa rotação na força que é o tempo

Made available in DSpace on 2016-04-28T20:38:51Z (GMT). No. of bitstreams: 1 Karina Pereira Jacob da Silva.pdf: 2048687 bytes, checksum: 6441b185ca9a3cef067761d446f6e8b3 (MD5) Previous issue date: 2014-03-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Written through invention of some experiences brought from the theatrical practice, I will try, in this work, to draw a parallel among the act of an artistic creation, the birth of monsters and the experience of death. Therefore, it is necessary to observe the lines of forces that cross these processes, sometimes allowing creation of new territories and ways of operating life, sometimes blocking these flows. Life and art merge by establishing the aesthetic experience of life. In this context, insightful listening from these experiences, such as in the clinical experience, allows the research into new ways of producing subjectivity which are able to establish important reverberations, through actions at the level of micropolitics, that extend to the macropolitic level. The perception of cartographic lines that compose these experiences of artistic creations works questioning the Art institution and its artistic way of dealing with the potential of life / Por meio da invenção escrita de algumas experiências trazidas da prática teatral tento, com esse trabalho, traçar um paralelo entre o ato da criação artística, a parição de monstros e a experiência da morte. Para tanto, faz-se necessário observar as linhas de forças que atravessam esses processos, ora possibilitando constituição de novos territórios e modos de operar a vida, ora bloqueando esses fluxos. Vida e arte fundemse instaurando a experiência estética da vida. Nesse contexto, a escuta perspicaz dessas vivências permite, tal como na experiência clínica, a investigação de novos modos de produção de subjetividade capazes de instaurar, por meio de ações no plano das micropolíticas, importantes reverberações que se estendem para plano da macropolítica. A percepção das linhas cartográficas que compõem essas experiências de criação artísticas opera assim questionamentos na instituição Arte e sua forma de se relacionar com as potencialidades da vida

This investigation constitutes an attempt towards(1) understanding issues and problems relating to the notions of one, many, part and whole in Parmenides and Plato; (2) extracting conditions for a successful account of multiplicity and parthood;(3) surveying Deleuzian conceptions and uses of these notions; (4) appraising the extent to which Deleuze’s metaphysics can answer some of these ancient problems concerning the status of multiplicity and the nature of mereological composition, that is, of the relations that pertain between parts and the wholes that they compose.

Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2018-07-26T13:11:17Z No. of bitstreams: 1 2017 - G?ssica Pimentel Reis.pdf: 1144585 bytes, checksum: 2423f8e98e171379e342c33d29c07929 (MD5) / Made available in DSpace on 2018-07-26T13:11:17Z (GMT). No. of bitstreams: 1 2017 - G?ssica Pimentel Reis.pdf: 1144585 bytes, checksum: 2423f8e98e171379e342c33d29c07929 (MD5) Previous issue date: 2017-06-09 / Funda??o Carlos Chagas Filho de Amparo ? Pesquisa do Estado do RJ - FAPERJ / This research has as subject to justify the possibility of a cinema?s philosophy. Before we get the central problematization, which is given by the dialogue between the philosophers Gilles Deleuze and Jacques Ranci?re. We begin, therefore, from an analysis about the constitution of a Deleuze?s philosophy, so that we can better understand and argue his proposal of cinema?s philosophy that begins from the influence of the Bergson?s ontology. In order to understand the positions adopted by Ranci?re and, above all, his criticism of Deleuze, we search at his studies of the image and how he understands the cinema from that context. We privilege some concepts and ideas that influenced each of the two authors, so that we could become possible a new way to read the philosophy of cinema, in which it was possible to provoke the thought through the confrontation of concepts by means of the analysis of films and, hence, to raise new hypotheses for possible solutions of the problems posed by both philosophers. / La pr?sent recherche a comme sujet justifier la possibilit? de la philosophie de cin?ma. D?abord d?arriver ? la problematique centrale, dont elle est donn? ? trav?rs du dialogue entre les philosophes Gilles Deleuze et Jacques Ranci?re. Nous commen?ons donc d?une analyse de la constituition d?une philosophie selon Deleuze, afin de mieux comprendre et d?fendre sa proposition sur l?existance d?une philophie du cin?ma qui d?coule, ? son tour, de l?influence de l?ontologie propos?e par Bergson. Ensuite, pour comprendre les positions prises par Ranci?re, et surtout sa critique ? Deleuze, nous avons parcouru, alors, pour sa compr?heension de l?image et pour la fa?on dont il comprend le cin?ma, d?s ce contexte. Nous avons privil?gi? des concepts et des influences sur chaque auteur en vue de permettre une nouvelle lecture de la philosophie du cin?ma qui pourrait susciter la r?flexion ? travers de la confrontations des concepts de l?analyse des films et donc mettre de nouvelles hypoth?ses pour chercher des possibles solutions aux probl?mes propos?s chez tous les deux philosophes / A presente pesquisa tem como objetivo justificar a possibilidade da filosofia do cinema. Antes de chegarmos ? problematiza??o central, que ? dada em fun??o do di?logo entre os fil?sofos Gilles Deleuze e Jacques Ranci?re. Partimos, portanto, de uma an?lise da constitui??o de uma filosofia para Deleuze para podermos melhor entender e argumentar a sua proposta de filosofia do cinema que se origina da influ?ncia da ontologia bergsoniana. Para compreendermos as posi??es adotadas por Ranci?re e, sobretudo, sua cr?tica a Deleuze, n?s perscrutamos pelo seu entendimento acerca da imagem e de que forma ele compreende o cinema a partir desse contexto. Privilegiamos conceitos e influ?ncias em cada autor para que pud?ssemos viabilizar uma nova leitura da filosofia do cinema em que fosse poss?vel provocar o pensamento atrav?s do confronto de conceitos por meio da an?lise de filmes e, por conseguinte, levantar novas hip?teses para poss?veis solu??es dos problemas colocados por ambos os fil?sofos.

This thesis introduces pathogenesis as methodology for a vitalist metaphysics, where life is understood as emerging and developing through functioning and grounding. This methodology is defined in an analysis of the philosophy of Gilles Deleuze, whose work is used as central resource alongside the work of historical figures – Plato, Hume, Kant, Bergson and Nietzsche – and contemporary writings on Deleuze as secondary resources. The analysis proceeds by problematising the related concepts of function and ground in relation to Deleuze’s vitalist philosophy and in relation to the supplementary material indicated.

This study investigates the professional, media-strategic practices that the requests by some users lead to, and how these practices can be understood and problematized in relation to the laws, regulations and governing documents to which the libraries relate. Thus, in this study, the media's media strategy choices are set in a context of judicial authority and legal principles. Based on four different concrete cases where a user reported the library's actions to JO, it is investigated what arguments users, libraries and JO use to claim their positions on the issue. In recent years, the various media strategy choices that the libraries make, about what books should be bought, moved, stored, or borrowed from other libraries, has increasingly been debated. In some cases this has led to reports to the judicial authority JO (Justitieombudsmannen), who has investigated the situation. In the center of investigations, there is often an individual librarian, who through his or her actions and choices, in the encounter with a user, is often faced with a dilemma and, as a consequence, sometimes acts without support in current legislation. Research shows that increased sick leave can be related to the worries and stresses that librarians experience in relation to these dilemmas. There is therefore a need for increased knowledge of the regulatory framework that libraries can seek support from in situations where they face contradictory norms and values in relation to a user's wishes.