This research project was developed in practice through the production of artwork. Alternating between art and reflection, my aim was to develop a strategy for artistic research that was targeted towards the goal of an intergrative project supported through information technologies. This idea developed out of my position as an artist working at a distance, from a small isalnd (Malta). My problematic, therefore, was focused around the question of territory. This research endeavoured to investigate the notion of "territory" through theories of deterritorialisation and machinic connectivity.

Advances in communication and information technologies, as well as recent developments in computer technology, material research and sensor networks instigate the studies on active and dynamic environments, which call for the participation of the human and the machine in the definition of responsiveness in architecture. The thesis aims to provide for an ontological inquiry on responsiveness and responsive environments by undertaking an overview of the extensive interest in the responsive experience in architecture. It scrutinizes the field of responsive environments with a particular focus on the machinic approaches that (re)problematize the human-machine interaction. For this purpose, the thesis relates the concept of responsiveness with the machinism debate and considers the associations between the body, the human-machine interaction and the condition of embodiment in responsive environments. The machinism debate is discussed in reference to responsiveness and assesses the issue of embodiment and human-machine interaction in responsive environments. By reflecting on the human-machine interaction, the re-conceptualization of the issue of embodiment is rendered in reference to the body, the definition of which arises from the relations between the body, the environment and the machine, continuously updated during their interaction. The thesis identifies this altered concept of the body as a significant stimulation for new modes of human-machine interaction as it enables the embodiment of relations in relation to the body and initiates the re-conceptualization of both embodiment and human-machine interaction. In this respect, the thesis presents an assessment of the nature of human-machine interaction and its re-problematization in responsive environments, where the challenged conditions of body and embodiment are discussed in reference to debates in the philosophy of mind on different interpretations of the mind-body relationship. Referring to particular examples from different periods and contexts, the consequences of embracing machinic approaches in the definition of responsive environments are considered, where the dissolution of dichotomies between human and machine, subject and object, human and non-human, and mind and body are questioned in line with these transformations.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-12T18:27:45Z No. of bitstreams: 1 MARCOS VIEIRA DA SILVA.pdf: 792830 bytes, checksum: 41f6349bb258db4b598c422d46004419 (MD5) / Made available in DSpace on 2016-09-12T18:27:45Z (GMT). No. of bitstreams: 1 MARCOS VIEIRA DA SILVA.pdf: 792830 bytes, checksum: 41f6349bb258db4b598c422d46004419 (MD5) Previous issue date: 2016-03-29 / This paper aims to make an approximation of some concepts of the Philosophy of Difference as proposed by Gilles Deleuze and Felix Guattari to Kafka´s so called Minor Literature, in specific The Metamorphosis and The Trial. For these philosophers, although Literature and Philosophy have different objects, they have bonds and come close to each other when they give their testimony of life. It is life that runs through literature; several types of devir overflow in literary writing: devir-man, devir-woman, devir-child, devir-animal, devir-molecule, imperceptible devir, flows of life and death shaping rizomes, agitating Franz Kafka´s world map. The character Gregor Samsa in Metamorphosis is a man, but a transformed man, turned into an insect, a deviranimal, a devir-molecule, a flow of desire, blocks of sensation. Kafka´s world is truly agitated, the political machine, the war machine are all connected, disconnected and re-connected, shuffling the codes in The Trial and in Metamorphosis and as they were shuffled, they took language to the limit, forcing thought to think and language to stutter, because language and thought fold themselves inside and outside through the forces of sign. In this movement between the inside and the outside, we are led to weave our third margin. Pointing the possible connections between Deleuze´s Philosophy of Difference and Literature, searching in the reflections, experimentation with some concepts such as sign, rizome, desire, agency, flows, machines and the concept of Minor Literature as a field of aesthetical experimentation, is the intention of this work. / O trabalho tem como objetivo aproximar alguns conceitos da filosofia da diferença de Gilles Deleuze e Felix Guattari com a literatura dita menor de Franz Kafka, mais especificamente nas obras A Metamorfose e O Processo. Para esses filósofos, embora a literatura e a filosofia tenham objetos diferentes, elas fazem elos, se aproximam quando testemunham a vida. É a vida que corre na literatura, devires diversos transbordam na escrita literária. Devir-homem, devir-mulher, devir-criança, devir-animal, devir-molecular, devirimperceptível, fluxos de vida e de morte fazem rizomas, agitando o mapamundo de Franz Kafka. O personagem Gregor Samsa na Metamorfose é um homem, mas um homem transformado, modificado em um inseto, um deviranimal, um devir-molecular, um fluxo de desejo, blocos de sensação. O mundo de Kafka é uma verdadeira agitação, máquina política, máquina de guerra conectam, desconectam e reconectam embaralhando os códigos no Processo e na Metamorfose e ao embaralhar leva a linguagem ao seu limite, forçando o pensamento a pensar e a língua a gaguejar, porque a linguagem e o pensamento dobram dentro e fora pela força do signo. Nesse movimento entre dentro e fora somos levados a tecer a nossa terceira margem. Apontar as possíveis conexões entre filosofia da diferença de Deleuze e da literatura, procurando a partir das reflexões, experimentar alguns conceitos como signo, rizoma, desejo, agenciamento, fluxos, máquinas, e do conceito de literatura menor enquanto campo de experimentação estética, é o que se pretende na proposta deste trabalho.

This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.

Made available in DSpace on 2016-04-28T20:39:00Z (GMT). No. of bitstreams: 1 Rita Natalio.pdf: 1543881 bytes, checksum: ae69630225c03cbdf7bf9cc3fe0b719d (MD5) Previous issue date: 2015-03-13 / Fundação Calouste Gulbenkian / In this work, we will start from the imitation theories of the nineteenth-century French sociologist Gabriel Tarde, and the revision of these theories by the Italian philosopher Maurizio Lazzarato. These authors will allow us to think the contemporary processes of subjectivity, in which appears a specific dynamic between imitation and invention on individual life and that, in turn, go hand in hand with neoliberal capitalism dynamics and its incessant deterritorializations. Today, contemporary individuals quickly mobilize their imitations and inventions, their opinions replicate on a large scale and they are driven by the belief in the possibility of interfering, divert, sculpting, modeling and even reverse the direction of their own lives. Imitation and invention can be seen as tools of social construction. Furthermore, in the case of virality and contagion of ideas through social networking on the Internet or analog networks of consumption and influence, a bestial force of imitation is set up that seeks a global spread, a force whose power is extra-individual and allows us to consider subjects beyond self-contained units. To think this theme, we will establish our research in dialogue with other authors and examples from contemporary art to internet examples and, between chapters of the work, we will propose small textual shortcircuits that break the linearity of reasoning. These short-circuits can, in some cases, challenge the conventions of academic text, but they are mainly an experiment on the relationship between invention and imitation in the creation of my own voice / Neste trabalho, partimos das teorias da imitação do sociólogo francês do século XIX Gabriel Tarde, e da sua revisão, já no século XXI, pelo filósofo italiano Maurizio Lazzarato. Esses autores permitem-nos pensar os processos de subjetivação contemporâneos como processos onde se explicita uma dinâmica específica entre imitação e invenção na vida individual que, por sua vez, andam lado a lado com a dinâmica do capitalismo neoliberal e das suas desterritorializações incessantes. Hoje, os indivíduos contemporâneos mobilizam velozmente as suas imitações e invenções, replicam opiniões em larga escala, movidos pela crença na possibilidade de interferir, desviar, esculpir, modelar e até reverter o sentido das suas vidas. Imitação e invenção podem ser vistas como ferramentas de construção social. Para além disso, no caso da viralidade e do contágio de ideias por via de redes sociais na internet ou de redes analógicas de consumo e influência, instala-se uma força bestial de imitação que busca uma propagação planetária, cuja potência é extra-individual e permite pensar o sujeito para além de unidades estanques. Para pensar esta temática, situaremos a nossa pesquisa em diálogo com outros autores e exemplos, deste a arte contemporânea a exemplos retirados da internet, e entre os capítulos que compõem o trabalho, propomos pequenos curto-circuitos textuais na linearidade do raciocínio. Estes curto-circuitos poderão em alguns casos desafiar as convenções do texto académico, mas são sobretudo um experimento sobre a relação entre invenção e imitação na criação de uma voz própria

Made available in DSpace on 2016-04-26T18:13:27Z (GMT). No. of bitstreams: 1 Dissertacao Maristela Sanches Bizarro.pdf: 13547050 bytes, checksum: a6ffbdc88374442a3c2df7466325e97c (MD5) Previous issue date: 2005-11-04 / nenhum / This work studies the human-machinic relation in the cinematographic imaginary. It is based on Phenomenology and General Theory of the Signs developed by Charles Sanders Peirce. For our study we choosed three science fiction movies that reflect three moments of the technological innovations that marked the twenty century culture: Industrial Revolution, Electronic Revolution and Digital Culture. Chapter 1 describes main characteristics of science fiction gender and its possibilities of relation human-machinic s representation. Chapter 2 analyses Metrópolis film directed by Fritz Lang in 1926. The film portrays a conception of the machine as something oppressor and external to the human in the Industrial Revolution context. This chapter analyzes the predominance of the Category of Secondness and the indexical character of Metrópolis signs. Chapter 3 analyzes Blade Runner, icon of Electronic Revolution and precursory of Digital Culture. Directed by Ridley Scott in 1982, the film portrays the conception of a fluid relation between the human and the machinic in the android figure. This chapter analyzes the predominance of the Category of Firstness and the iconic character of Blade Runner signs. Chapter 4 analyzes Matrix, directed by Wachowski brothers in 1999. The movie portrays a high level of symbolic interaction between the human and the machinic and makes possible to ask several characteristics of digital culture. This chapter analyzes the predominance of the Category of Thirdness and the symbolic character of Matrix signs. / O presente trabalho tem como objeto de estudo a relação humano-maquínico no imaginário cinematográfico e tem sua fundamentação básica na Fenomenologia e na Teoria Geral dos Signos desenvolvidas por Charles Sanders Peirce. Para nosso estudo selecionamos três filmes de ficção científica que refletem três momentos paradigmáticos das inovações tecnológicas que marcaram fortemente a cultura do século XX: a Revolução Industrial, a Revolução Eletrônica e a Cultura Digital. O capítulo 1 discorre sobre as principais características do gênero ficção científica e suas possibilidades de representação da relação humano-maquínico. O capítulo 2 analisa o filme Metrópolis dirigido por Fritz Lang em 1926, que retrata uma concepção de máquina como algo opressor e exterior ao humano no contexto da Revolução industrial. Este capítulo analisa a predominância da Categoria da Secundidade e o caráter indicial dos signos de Metrópolis. O capítulo 3 analisa Blade Runner, ícone da Revolução Eletrônica e precursor da cultura digital. Dirigido por Ridley Scott em 1982, o filme retrata a concepção de uma relação fluída entre o humano e o maquínico, na figura do andróide. Este capítulo analisa a predominância da Categoria da Primeiridade e o caráter icônico dos signos de Blade Runner. O capítulo 4 analisa Matrix, dirigido pelos irmãos Wachowski em 1999, que retrata um altíssimo nível de interação símbólica entre o humano e o maquínico e possibilita o questionamento de diversos aspectos da cultura digital. Este capítulo analisa a predominância da Categoria da Terceiridade e o caráter simbólico dos signos que compõem os signos de Matrix.

Submitted by Maria de Lourdes Mariano (lmariano@ufscar.br) on 2017-01-13T18:19:36Z No. of bitstreams: 1 COLPANI_Felipe_2015.pdf: 111798431 bytes, checksum: 5a4c6c5873af082d62f5fd5c20943184 (MD5) / Approved for entry into archive by Maria de Lourdes Mariano (lmariano@ufscar.br) on 2017-01-13T18:19:47Z (GMT) No. of bitstreams: 1 COLPANI_Felipe_2015.pdf: 111798431 bytes, checksum: 5a4c6c5873af082d62f5fd5c20943184 (MD5) / Approved for entry into archive by Maria de Lourdes Mariano (lmariano@ufscar.br) on 2017-01-13T18:19:56Z (GMT) No. of bitstreams: 1 COLPANI_Felipe_2015.pdf: 111798431 bytes, checksum: 5a4c6c5873af082d62f5fd5c20943184 (MD5) / Made available in DSpace on 2017-01-13T18:20:04Z (GMT). No. of bitstreams: 1 COLPANI_Felipe_2015.pdf: 111798431 bytes, checksum: 5a4c6c5873af082d62f5fd5c20943184 (MD5) Previous issue date: 2015-07-16 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / This research aims to analyze the production of homosexual experiences in contemporary times, with the investigative territory, social network Facebook. The space network connections [cyberspace] have been constituted as new production space morphologies for homosexuals. The technoculture’s virtual machines present themselves as social spaces of projection, memory and new developments. Emerged in a trans-discursive network connections, homosexuals can assume ownership of virtual machines to the ongoing reconstruction of its virtuality, understood as a mobile incorporeal flow that is transmuted in connection with each other. The social network Facebook is configured as a network of connections equipped by axes and directions, allowing individuals movements of deterritorial and intensive meetings, under a spatial mosaic hybrid, circumscribed in a multitude of territories and ciber-regions spread across the Global Village Machinic. The deterritorialized open cyberspace, solidifies as a space recorded by a heterogeneity of spatial elements, allowing the passage of flows and practices, and provide new experiences, which can move with the hetero-capitalism power centers. The analysis is centered on the materialistic production os [cyber]space, which allowed the outline of contemporary social production, combined with discursive production, through what is stated and registered on Facebook. A symbiosis that allowed me machining of existential production scenario in which these homosexuals are territorialized. The collection of discursive practices occurred from a virtual ethnography in the most closed group of homosexuals in Brazil, a nomadic territory of bodies and utterances that connects all to a central point: the uniqueness of homosexual desire. A creation of space for new experiences and affectivity, as well as a virtual closet. In this group, there are forces of coalescence: transgression forces and forces that capture the heterocapitalismo standard, constituting as an inductor territory of processes and connections that may even break with the reactionary encodings of global simulations of the Patriarchal-Heteroapitalist Empire. Through the analysis of the discursive production of homosexuals on Facebook, notes that homosexual experiences of today is based on a constant exchange between real and virtual, online and offline, corpus and machines under a profusion of new experiences and new performativities, passing by a social production of connections fight and claims and new groupings by affection. / Esta pesquisa teve como perspectiva analisar a produção de experiências homossexuais na contemporaneidade, tendo como território investigativo a rede social do Facebook. O espaço em rede de conexões [ciberespaço] têm se constituído como uma nova geomorfologia, que tem acarretado em novos eixos heterogêneos de produção existencial. As próteses high-tech da tecnocultura, se apresentam como espaços sociais de projeção, de memória e de novos acontecimentos. Emergidos em uma rede biotécnica de conexões, os homossexuais podem se apropriar das máquinas cibernéticas para a reconstrução contínua de sua virtualidade, entendida como um fluxo incorpóreo que se transmuta na conexão com o outro. A rede social do Facebook, se configura como uma malha de conexões equipada por eixos e orientações, permitindo aos indivíduos movimentos de des-territorialização e encontros intensivos, sob um mosaico espacial híbrido, circunscrito numa multiplicidade de territórios e ciber-regiões espalhadas pela Aldeia Maquínica Global. O ciberespaço como sistema aberto desterritorializado, solidifica-se como um espaço registrado por uma heterogeneidade de elementos espaciais, permitindo a passagem de fluxos e práticas que além de proporcionar novas experiências, podem deslocar com os centros de poder do heterocapitalismo, do que aqui chamamos de Império Patriarcal-Heterocapitalista. A análise centrou na formação materialista do [ciber]espaço, que me permitiu o delineamento da produção social contemporânea, aliada a produção discursiva, através do que se enunciado e registrado no Facebook. Uma simbiose que me permitiu a maquinação do cenário de produção existencial no qual estes homossexuais estão territorializados. A coleta de práticas discursivas ocorreu no seio de uma etnografia virtual no maior grupo fechado de homossexuais do Brasil, uma aldeia molecular e nômade de corpus e enunciações que conecta todos a um ponto central: a singularidade do desejo homossexual. Um território prostético de constituição de novas experiências e afetividades, como também pode servir como uma forma de armário. Neste grupo, há uma coalescência de forças: forças de transgressão e forças majoritárias de captura à norma heterocapitalista. Através da análise da produção discursiva de homossexuais no Facebook, se constata que as experiências homossexuais na atualidade se assenta em um intercâmbio incessante entre real e virtual, on-line e off-line, corpus e máquinas, sob uma profusão de novas experiências e novas performatividades, perpassando por uma produção social de luta e reivindicações, de conexões e de novos agrupamentos pelo afeto.

Avec l’accélération de la production narrative au vingt-et-unième siècle, ainsi que les tentatives d’appropriation des moyens de production et des mythes collectifs par le marché, il y a lieu de questionner l’effet des nouveaux mythes sur la psyché humaine. L’ingestion persistante et soutenue de récits infusés de symboles capitalistes produit une mutation de la subjectivité humaine, dans un mouvement vers une certaine homogénéité. Par une relecture de la Poétique d’Aristote, la première section de cette thèse propose une vision politique de la catharsis, qui théorise le récepteur de toute narration comme programmable et pouvant être guidé vers des attitudes et des postures. Cette conception mène directement à une définition machinique du récit et la notion d’asservissement machinique, qui conçoit la subjectivité humaine comme engagée dans des processus de connectivité où elle perd certains fragments de son unicité. La troisième foulée de cette thèse théorise la société de contrôle de Deleuze et ses héritiers conceptuels, le capitalisme de surveillance et l’ectosubjectivité. Ces deux notions tentent de percevoir le régime de pouvoir du vingt-et-unième siècle, fondé sur les données personnelles et la standardisation de la psyché humaine. Finalement, le quatrième et dernier chapitre de cette recherche se penche sur la notion de vérité telle que décrite par Michel Foucault dans Le Courage de la Vérité. Dans la notion Grecque, et particulièrement son développement platonicien, de parrhēsia, Foucault identifie l’homogénéité d’une vérité basée sur une hiérarchie éthique, et son renversement par les Cyniques en animalité assumée qui ouvre de nouveaux territoires d’existence et de vérité. En somme, ce renversement nous permet de concevoir ce que serait une existence libre, hors d’un régime de vérité qui désubjective et rend homogène. / With the acceleration of narrative production in the twenty-first century, as well as the attempted appropriation of means of production and collective myths by market economy, there is an increasing need to question the effect of these new myths on the human psyche. The persistent and sustained ingestion of narratives infused with capitalist symbols produces a transformation of subjectivity, which mutates from unicity to increased standardization. Through a rereading of Aristotle’s Poetics, the first section of this thesis offers a political conception of catharsis that theorizes the receiver of narratives as programmable and guidable towards attitudes and postures. This conception leads directly to a machinic definition of the narrative and the concept of machinic enslavement. These concepts conceive of human subjectivity as engaged in processes of networking where it loses fragments of its unicity. The third chapter of this thesis theorizes Deleuze's society of control and its conceptual successors, surveillance capitalism and ectosubjectivity. Both these concepts attempt to theorize the reigning regime of power of the twenty-first century, based on personal data and the standardization of the human psyche. Finally, the fourth and final chapter of this research analyzes the notion of truth as described by Michel Foucault in The Courage of Truth. In the Greek notion of parrhēsia, and especially in its platonic development, Foucault identifies the homogeneity of a truth system based on a hierarchization of ethics. The reversal of this system by the Cynics into an assumed bestiality is crucial to this thesis as it opens new territories of existence and truth. In sum, the Cynic reversal permits us to conceive of a free existence, outside of a regime of truth that desubjectivates and homogenizes.

No description available.

Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research is a study about locating opportunities and entry points for introducing consideration of the nonhuman and posthuman to pedagogical perspectives that are traditionally concerned with human beings and epistemological subjects. The research, herein, engages doings in collaborative effort, during conditions of unprecedented interconnectedness facilitated by the electric age. Steeped in a environment thus created by technologies’ immense ubiquity and influence, this collaboration endeavours to recognize their full research participation, alongside that of humans. This research presents collaboratively conducted, published inquiries that have been coauthored by myself and fellow doctoral candidate Richard Wainwright. Each facilitates, then attempts to articulate ways to decentre the human in educational contexts, beginning with our own human perspectives. As exercises in broadening our considerations of the life forms, matter, and nonhuman entities that surround humanity, this research prompts us to recognize much more than what humanity typically acknowledges as existing, given the anthropocentric frameworks it has constructed. We reorientate the nature of these relationships—posthumanizing them—and in doing so, disrupt our own thinking to work something different than our circumstances have hitherto informed us to consider. We have co-developed a study and conducted research in collaboration with human and nonhuman research participants.Five nationally and internationally published co-authored journal articles, a book chapter, and five intermezzos (short “observational” pieces) comprise this study that explores collaboration and recombinatoriality during “the electric age” (McLuhan, 1969, 10:05). Recognizing humanity’s increasingly inextricable relationships with technologies, this collaboratively conducted study draws into creative assemblage Gilles Deleuze and Félix Guattari’s philosophical concepts; new materialism as cultural theory; the prescient observations and predictions of Marshall McLuhan and a media studies curriculum he co-developed over forty years ago; arts-based research; museum exhibitions; features of music production such as sampling, mashup, remix, and turntabling; among many other notes and tones. A conceptually developed riff mobilizes our inquiries as “plug in and play,” while its academic study is theorized as [onto]Riffology. Ontological shifts beget a machinic arts-based research (MABR) that develops a posthuman critical pedagogy inspired by Negri and Guattari (2010). Collaborating in the Electric Age: [onto]Riffological Experiments in Posthumanizing Education and Theorizing a Machinic Arts-Based Research celebrates collaborativity, discovery, and learning during the electric age. / Graduate / 2023-01-07