Throughout these last few decades, phenomenology and modern physics have slowly started to approach each other in order to bridge the gap between the subjective and objective. In this thesis I aim to show an approach done with the help of Karen Barad's agential realism; a quantum interpretation enabling us to better understand and analyse our complex world, as well as our perception of it.Taking inspiration from new materialism, phenomenology and physics, I see a need to properly leave discrete dualism behind, in order to be able to describe cultural and material structures as continuous manifolds. Instead of endlessly searching for their binary and changeless parts. / Under de senaste decennierna har fenomenologin och den moderna fysiken sakta men säkert börjat närma sig varandra, för att försöka fylla gapet mellan det subjektiva och det objektiva. I den här uppsatsen vill jag visa på ett av dessa tillvägagångssätt genom att använda mig av Karen Barads agentisk realism; en kvantfysisk tolkning som underlättar vår förståelse och förmåga att analysera en komplex värld, samt vår perception av den.Med inspiration från nymaterialism, fenomenologi och fysik, så ser jag ett behov att lämna en diskret dualism bakom oss, för att istället beskriva kulturella och materialistiska strukturer som en kontinuerlig mångfald. Till skillnad från det ändlösa sökandet efter deras binära och oföränderliga delar.

[pt] Os adultos emergentes de 18 a 29 anos estão na fase do desenvolvimento que precede a vida adulta marcada pela autonomia e independência. Além dos desafios peculiares, a pandemia da COVID 19 os expôs à maior tragédia humanitária desde a segunda guerra mundial. O estudo propôs avaliar a espiritualidade, religiosidade, materialismo e ansiedade perante a morte como preditores para presença e busca de sentido neste contexto sociocultural com intensas ameaças psíquicas. A pesquisa obteve 434 respondentes brasileiros e 615 portugueses. O objetivo da investigação foi verificar o quanto religiosidade, espiritualidade, materialismo e ansiedade perante a morte podem explicar a presença e a busca de sentido de vida. Após averiguar os dados de cada país, fez-se uma comparação dos resultados. O estudo utilizou-se dos instrumentos: Escala de Sentido de Vida (Steger et al., 2006); Escala de Não-Religiosidade e Não-Espiritualidade (Cragun, 2015); Escala de Materialismo (Richins, 2004) e o Questionário de Ansiedade Perante a Morte (Conte et al., 1982). Os resultados demonstraram seguintes os resultados tanto para os respondentes brasileiros quanto portugueses: (1) a religiosidade predisse a presença de sentido na vida. Uma menor religiosidade explicou a busca pelo sentido; (2) a espiritualidade não explicou presença de sentido, mas explicou a busca pelo sentido na vida; (3) o materialismo não explicou nem a presença e nem a busca do sentido de vida; (4) por fim, a menor ansiedade de morte predisse a presença de sentido. A análise qualitativa da pergunta Sena, Alexandre Rodrigues; Pessôa Luciana Fontes; Lins, Samuel Lincoln Bezerra. Religiosidade, espiritualidade, materialismo e ansiedade de morte como preditores do sentido de vida dos adultos emergentes. Rio de Janeiro, 2023. 240p. Tese de Doutorado – Departamento de Psicologia, Pontifícia Universidade Católica do Rio de Janeiro. aberta: o que lhe vem à mente quando pensa sobre o sentido da vida?, foi realizada a partir do software IRAMUTEQ. O estudo dos dados textuais revelou que agnósticos e sem religião possuem menor presença de sentido e, consequentemente, estão numa busca mais intensa pelo sentido de vida. A análise de correlações e o teste t corroboraram com os resultados encontrados nas regressões e na análise qualitativa. A investigação contribui para a compreensão do sentido de vida dos adultos emergentes. A presença de sentido de vida demonstrou a possibilidade de maior saúde psicológica e bem-estar durante o enfrentamento da pandemia da COVID 19. / [en] Emerging adults from 18 to 29 years old are in the development phase that precedes adult life marked by autonomy and independence. In addition to the unique challenges, the COVID 19 pandemic has exposed them to the greatest humanitarian tragedy since the second World War. The study aims at evaluating spirituality, religiosity, materialism and anxiety before death as predictors for presence and search for meaning in this sociocultural context with intense psychic threats. The survey obtained 434 Brazilian and 615 Portuguese respondents. The objective was to verify how much religiosity, spirituality, materialism and anxiety before death can explain the presence and the search for meaning in life. After examining the data for each country, the results were compared. The study used instruments as Meaning of Life Scale (Steger et al., 2006); Non-Religiousness and Non-Spirituality Scale (Cragun, 2015); Materialism Scale (Richins, 2004) and the Death Anxiety Questionnaire (Conte et al., 1982). The results showed the following results for both Brazilian and Portuguese respondents: (1) religiosity predicted the presence of meaning in life. Less religiosity explained the search for meaning; (2) spirituality did not explain the presence of meaning, but it did explain the search for meaning in life; (3) materialism did not explain neither the presence nor the search for the meaning of life; (4) finally, lower death anxiety predicted the presence of meaning. The qualitative analysis of the open question: What comes Sena, Alexandre Rodrigues; Pessôa Luciana Fontes (Advisor); Lins, Samuel Lincoln Bezerra (Co-advisor). Religiosity, spirituality, materialism and death anxiety as predictors of the meaning of life of emerging adults. Rio de Janeiro, 2023. 240p. Tese de Doutorado – Departamento de Psicologia, Pontifícia Universidade Católica do Rio de Janeiro. to your mind when you think about the meaning of life? was performed using the IRAMUTEQ software. The study of textual data revealed that agnostics and those without religion have less presence of meaning and, consequently, are in a more intense search for life meaning. The analysis of correlations and the t test corroborated the results found in the regressions and in the qualitative analysis. The investigation contributes to understanding the life meaning of emerging adults. The presence of meaning in life demonstrated the possibility of greater psychological health and well-being while facing the COVID 19 pandemic.

The overall aim of this study is to contribute to the understanding of how a pervasive digitalization and mediatization takes part in shaping and reshaping the relations between science and society and popular understanding of scientific epistemologies. In recent years, the prevalence of disinformation, fake news and conspiracy theories together with suggestions on how to combat this have come to characterize general discourses on knowledge, science, truth and digital media. Encounters with myths or disinformation can give impetus to what is usually called myth debukning. On social media, there are discussions and debates about whats should be considered as truth and facts and what we should reject as disinformation. The digital platform Tiktok has in a short time become one of the most popular places for digital social interaction and is today part of public discourse. The purpose of this study is to study examples of science myth debunking or the exposure of myths about science on the digital social platform Tiktok. The study shows that discursive practices for myth debunking are formed through the interaction between a variety of human and non-human actors. Myth debunking can be seen as to shed light on scientific development and how scientific knowledge production plays out in interplay with society in general. Understanding the role of science communication as a means of disseminating scientific knowledge in some popularized form separates science from the social and cultural contexts in which learning and reflection usually take place. Here, Tiktok, with its "messyness" and as a place for diversity of expressions, palys an important role.

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Ce mémoire de recherche-création explore la possibilité, pour un réalisateur/chercheur identifié socialement comme homme, de réaliser un documentaire proféministe sur le sujet de la domination de genre dans le milieu musical. La première partie consiste en la description d’un cadre méthodologique. Théoriquement, celui-ci permet d’identifier les relations de pouvoir au cœur du dispositif documentaire à l’aide, notamment, des théories de Michel Foucault sur les dispositifs de pouvoir et des théories de Dupuis-Déri et Thiers-Vidal sur les hommes proféministes. Pratiquement, ce cadre constitue une capacité d’agir sur ces mêmes relations de pouvoir, dans le but de les restructurer afin de documenter l’oppression sans la reproduire. La deuxième partie, de création, décrit la mise en place et l’exécution de huit dispositifs documentaires (entre 5 et 15 minutes) en cocréation suivant une démarche exploratoire et expérimentale d’essai/erreur. Les personnes filmées sont des musicien·ne·s abordant, sous différents angles, la domination de genre dans le milieu musical. Cette méthodologie exploratoire et située, en plus de démontrer sa pertinence dans ce type de projet, a permis d’identifier certaines structures de pouvoir inhérentes à l’entrevue documentaire. Elle a également illuminé le besoin d’explorer de nouvelles pistes de recherches, théoriques et pratiques, afin d’aboutir à une compréhension plus précise et une reconfiguration plus profonde des relations de pouvoir entre documentariste et protagonistes. / This master’s study in research‐creation explores the possibility, for a director/scientist, who socially appears as a man, to direct a feminist documentary about gender domination in musical practice. The first part of this research describes the methodological framework. Theoretically, this makes it possible to identify the power relations at the heart of the documentary system using in particular the theories of Michel Foucault on power systems and the theories of Dupuis‐ Déri and Thiers‐Vidal on profeminist men. Practically this framework constitutes a capacity to act on these same power relations, with the aim of restructuring them in order to document oppression without reproducing it. The second part describes the implementation and execution of eight documentary “dispositif” (between 5 and 15 minutes) in co‐creation following an exploratory and experimental trial/error approach. The people filmed are musicians describing gender domination in the musical world from different angles. This exploratory and situated methodology, in addition to demonstrating its relevance in this type of project, made it possible to identify certain power structures inherent to the documentary interview. It also highlighted the need to explore new avenues of research, theoretical and practical, in order to achieve a more precise understanding and a deeper reconfiguration of the power relations between documentarist and protagonist.

[ES] La pintura abstracta de tipo matérico se manifestó en Puerto Rico para la década de 1950 siguiendo en sus inicios los signos del arte estadounidense y europeos. Esta incorpora cantidades significativas de materiales pictóricos y/o extrapictóricos sobre el soporte. El estilo abstracto en Puerto Rico fue politizado por un grupo de artistas que entendieron que era un arte integrista de la cultura estadounidense y primaron la figuración como el estilo idóneo para afirmar la identidad cultural puertorriqueña. Este conflicto surgió en el contexto de la aprobación de la constitución del Estado Libre Asociado de Puerto Rico en 1952 como fórmula de gobierno bajo los poderes plenos del Congreso de los Estados Unidos. El arte abstracto proliferó al margen del gobierno que auspiciaba a través del arte y la cultura el desarrollo de proyectos que sirvieron para forjar la idiosincrasia cultural puertorriqueña. Por una parte, analizamos la construcción de varios símbolos identitarios bajo el concepto de imágenes ardientes de Didi-Huberman para intentar explicar cómo la imagen figurativa se podría fijar en la memoria colectiva. Por otra parte, proponemos un análisis del fenómeno opuesto a la imagen, la abstracción matérica tomando en consideración la Teoría de la proyección sentimental de Theodoro Lipps esbozada por Wilheim Worringer. Esta argumenta que una de las posibles razones para que surja el "afán por la abstracción" proviene de una "intensa inquietud" provocada por las condiciones de vida adversas. Según Worringer, lo abstrayente evade representar la realidad por medio de las imágenes. Tomando en cuenta que la abstracción de tipo matérico se fundamenta en la incorporación de cargas de material pictórico o extra-pictóricos sobre el soporte o fuera del mismo, a modo de "derrame" de instalación-ambiente, proponemos que esta no necesariamente elude la realidad, sino que, forma parte de ella por el tipo de relieve que le identifica más con la tridimensionalidad. Consideramos el concepto de la transmodernidad esbozado por el filósofo Enrique Dussel como un acercamiento de análisis descolonizador que fija la atención en el reconocimiento de la producción local frente a las influencias extranjeras y más allá de ellas. En ese contexto que toma en cuenta las influencias euro-estadounidense pero que busca identificar razones locales que expliquen la manifestación de la pintura abstracta, identificamos las obras de tipo matérico más significativas en las colecciones públicas del país a lo largo de las décadas de 1950 al 2020. Finalmente, investigamos dos casos de estudio: los artistas Ivelisse Jiménez y Ángel Otero por ser estos representantes actuales de este tipo de arte con trayectorias consistentes. El análisis de sus obras nos permitió descubrir cuáles son sus influencias, a qué aluden sus abstracciones, qué tipo de evasión y regreso a la realidad, según Worringer y otras escuelas, plantean sus producciones artísticas y cuál es la aportación de la pintura abstracta de tipo matérico al conocimiento del arte en Puerto Rico. / [CA] La pintura abstracta de tipus matèric es va manifestar a Puerto Rico en la dècada del 1950, tot seguint inicialment els signes de l'art estatunidenc i europeu. Aquest tipus de pintura incorpora damunt del suport quantitats significatives de materials pictòrics i/o extrapictòrics. L'estil abstracte el va polititzar a Puerto Rico un grup d'artistes que el considerava com una part integral de la cultura estatunidenca, i per tant primà la figuració, que veia com l'estil idoni per a afirmar la identitat cultural porto-riquenya. Aquest conflicte va sorgir en el context de l'aprovació de la constitució de l'Estat Lliure Associat de Puerto Rico l'any 1952, com a fórmula de govern sota els poders plens del Congrés dels Estats Units. L'art abstracte va proliferar al marge del govern, que afavoria a través de l'art i la cultura el desenvolupament de projectes que serviren per a forjar la idiosincràsia cultural porto-riquenya. D'una banda, analitzem la construcció de diversos símbols identitaris sota el concepte d'imatges ardents de Didi-Huberman, tot mirant d'explicar com la imatge figurativa es podria fixar en la memòria col·lectiva. D'altra banda, proposem una anàlisi del fenomen oposat a aquesta imatge: l'abstracció matèrica. I ho fem tot prenent en consideració la teoria de la projecció sentimental de Theodoro Lipps, esbossada per Wilheim Worringer, teoria que argumenta que una de les possibles raons perquè sorgisca l'"afany per l'abstracció" prové d'una "intensa inquietud" provocada per les condicions de vida adverses. Segons Worringer, l'abstraent evadeix representar la realitat per mitjà de les imatges. Tenint en compte que l'abstracció de tipus matèric es fonamenta en la incorporació de càrregues de material pictòric o extrapictòric damunt del suport -o bé fora del suport, a manera de vessament d'instal·lació ambient- proposem que aquesta abstracció no necessàriament eludeix la realitat, sinó que en forma part pel tipus de relleu, que la identifica més amb la tridimensionalitat. Considerem el concepte de la transmodernitat, esbossat pel filòsof Enrique Dussel com una aproximació d'anàlisi descolonitzadora que fixa l'atenció en el reconeixement de la producció local, enfront i més enllà de les influències estrangeres. En aquest context, que té en compte les influències europees i estatunidenques, però que cerca identificar raons locals que expliquen la manifestació de la pintura abstracta, identifiquem les obres de tipus matèric més significatives de les col·leccions públiques del país al llarg de les dècades que van del 1950 al 2020. Finalment, investiguem dos casos d'estudi: els artistes Ivelisse Jiménez i Ángel Otero, que són representants actuals d'aquest tipus d'art amb trajectòries consistents. L'anàlisi de les seues obres ens ha permès descobrir quines són les seues influències, a què al·ludeixen les seues abstraccions, quin tipus d'evasió i retorn a la realitat, segons Worringer i altres escoles, plantegen les seues produccions artístiques, i quina és l'aportació de la pintura abstracta de tipus matèric al coneixement de l'art a Puerto Rico. / [EN] Abstract matter painting surge in the 1950s, following in its beginnings the signs of American and European art. It incorporates significant amounts of pictorial and/or all kind of materials on the support. The abstract style in Puerto Rico was politicized by a group of artists who understood it to be representative of the American culture and realistic art prevailed as the ideal style to affirm the Puerto Rican cultural identity. This conflict arose in the context of the approval of the constitution of the Commonwealth of Puerto Rico in 1952 as a form of government under the full powers of the United States Congress. Abstract art proliferated outside the government that sponsored through art and culture the development of projects that served to forge the Puerto Rican cultural idiosyncrasy. On the one hand, we analyze the construction of various identity symbols under Didi-Huberman's concept of burning images; to try to explain how the figurative image could be fixed in the collective memory. On the other hand, we propose an analysis of the phenomenon opposed to the image, the material abstraction, taking into consideration Theodore Lipps' Theory of Sentimental Projection outlined by Wilheim Worringer. This argues that one of the possible reasons for the surge of the "desire for abstraction" comes from an "intense concern" caused by adverse living conditions. According to Worringer, the abstractions evades representing reality through images. Considering that abstract matter painting is based on the incorporation of loads of material on the support, or outside of it, as an installation-environment "spill", we propose that it does not necessarily elude reality, but is part of it due to the type of relief that identify more with tridimensionality. We consider the concept of transmodernity outlined by the philosopher Enrique Dussel as an approach to decolonizing analysis that focuses on the recognition of local production in the face of foreign influences and beyond. In this context that considers Euro-American influences but seeks to identify local reasons that explain the manifestation of abstract painting, we identify the most significant materic abstract paintings in the country's public collections throughout the 1950s to 2020. Finally, we investigate two case studies: the artists Ivelisse Jiménez and Ángel Otero for being these current representatives of this type of art with consistent trajectories. The analysis of his works allowed us to discover which are their influences, what they allude, what kind of evation and return to reality according to Worringer and other schools their work propose and what is the contribution of abstract matter painting to the knowledge of art in Puerto Rico. / Cruz Corchado, R. (2022). La pintura abstracta matérica en Puerto Rico 1950-2020 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181338

In this thesis, I examine listening as a neural, cognitive, and behavioral phenomenon that just as much accounts for subject-formation as any other practice of everyday life. I center the performed sonic and musical characteristics of mundane sound objects found within the home and beyond – through direct sensory observation, domestic field recordings, contemporary sound performance, and ethnographic interviews – to ultimately uncover an analytic of precarious listening, or material-semiotic relationships built between sound objects and listening subjects through co-occurring articulations of precarity, such as the breaking down of a family heirloom during end-of-life care, or the shared liminality of transborder students and objects of their material culture. As the domestic soundscape continues to relationally permeate social, material, and environmental significance to (non)humans, I offer precarious listening as a tactic towards an ethics of care against the normative logics of which late modernity operates.

In this essay I examine scenography as a verb, to scenograph, and what it means to consider scenography as a process of development rather than an artifact placed on stage. Based on Deleuze and Guattari's ideas about rhizomatic structures and becomings, carnal aesthetics and phenomenology, I weave together tactile knowledge, the agency of the materials themselves and collective processes in a text about finding the inherent is of a scenography. / I den här essän undersöker jag scenografi som ett verb, att scenografa, och vad det innebär att betrakta scenografi som en process istället för en artefakt placerad på scen. Utifrån Deleuze och Guattaris idéer om rhizomatiska strukturer och blivande, carnal aesthetics och fenomenologi väver jag samman taktil kunskap, materials egen agens och kollektiva processer i en text om att hitta scenografins inneboende själv.