From 1972 until 1989, the artist trio General Idea produced FILE Megazine. The first eight issues of FILE, published from 1972 – 1975, are the focus of this thesis. They stand apart from the later issues because their covers hijacked the look and iconic logo of Life magazine. The red rectangle with white block letters attracted the attention of Time Inc. and resulted in a lawsuit. Rather than fight the corporate giant, General Idea changed their logo after the autumn 1975 issue. FILE, like many artists’ magazines, is typically discussed in idealistic language that privileges the subversive or democratic intentions of the publication while neglecting its significance as a device for the promotion of community and collaboration. I argue that General Idea envisioned FILE as a utopian project intended to produce the world they sought to live in. Authors frequently employ FILE as a tool to discuss General Idea’s work, focusing on it as a mirror or archive of a larger project and emphasizing FILE’s humorous, bawdy, and irreverent aspects. In this thesis, I situate FILE in terms of its historical, art historical, and theoretical frameworks. I pay particular attention to General Idea’s early involvement in the mail art network, FILE’s relationship to 1960s and 1970s artists’ magazines and magazine art, the contemporaneous social and political climate in Canada, and General Idea’s investigation and employment of theoretical frameworks culled from Marshall McLuhan’s text The Medium is the Message and Roland Barthes’ book Mythologies. / text

Diss. Univ. Frankfurt, 2008.

Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2014. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2014-05-07T14:02:41Z No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-05-13T14:07:50Z (GMT) No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Made available in DSpace on 2014-05-13T14:07:50Z (GMT). No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Na história do campo comunicacional percebemos uma dificuldade em encontrar critérios que estabeleçam o que é preciso para que uma teoria seja considerada como pertencente ao campo comunicacional. Tal fato repercute também no uso de denominações frouxas (escola, tradição, corrente, etc.) sem que haja um engajamento epistemológico a fim de dar rigor às denominações. A presente tese propõe a elaboração de um programa de pesquisa comunicacional tendo como guia a proposta do epistemólogo Imre Lakatos a partir do trabalho dos canadenses Harold Adams Innis e Marshall McLuhan. Autores, estes últimos, que se dedicaram a análise dos meios de comunicação enquanto tecnologias como elementos centrais para compreender a sociedade. Para estabelecer um programa de pesquisa comunicacional sistematizamos as principais teses dos dois autores, assim como as críticas a estas teses e os pontos de contato epistemológico que existem entre ambos os autores. Procuramos então, estabelecer um núcleo duro capaz de sustentar um programa de pesquisa assim como as hipóteses auxiliares que compõe o círculo protetor do mesmo. ______________________________________________________________________________ ABSTRACT / In the history of communication field we perceive a difficulty to find criteria that establish what is needed for a theory to be considered as belonging to the communication field. This fact also affects the use of loose designations (school, tradition, current, etc..) without an epistemological commitment to give rigor denominations. This thesis proposes the development of a communication research program under the guidance of the proposal by the espistemologist Imre Lakatos from the work of the Canadians Harold Adams Innis and Marshall McLuhan. These authors who dedicated themselves to the analysis of media as technologies as central elements to understand society. To establish a communication research program we systematized the main theses of the two authors, as well as the criticisms against their thesis and the epistemological points of contact between them. Thus, we try to establish a core capable of sustaining a research program as well as the auxiliary hypotheses that composes the protective circle around the core.

The aim of this thesis is to explain running of new media in the television's process in Czech republic. First part is dedicated to theoretical determination of new media include the Marshall MuLuhan's theoretic work. Second part describe czech televison market, characterization modern television's viewer and define practical using of new media in each television organization. The hypothesis described in the introduction are confirmed in conclusion.

This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system. In the same position we find the woman. She is the very epicentre of the novel and the violence directed towards her is part of a complex problem that I adress. The woman is divided into pieces and fetischized by the male gaze to serve as a solution for his trauma. Hal Foster's notion ”the double logic of prosthesis” constitutes a theoretical base. The model shows how a fetischistic strategy is applied by avant-garde artists to solve the technological trauma that they experience. Both content and composition of The Atrocity Exhibition are inspired by avant-garde practices, I have therefore compared the text with Foster's theory on how the avant-garde problematized the interaction between man and machine. Marshall McLuhan's belief that the human body and technology are inseparable in the era of electronics further helps me to study technology's effect on perception.

Storytelling is often looked at as something archaic or something that simpler cultures engage in. However, in our sophisticated and highly technological world storytelling swirls about us though we may not always recognize it. This thesis looks at the phenomenon of digital storytelling that functions to create community on the Internet. In order to ground this phenomenon in theory, I examine the works of Giambattista Vico, the 18th-century Neapolitan philosopher/rhetorician, who lived on the cusp of the Renaissance and the Age of Enlightenment. Furthermore, as a teacher of rhetoric to youth, Vico admonished young people to study the arts of poetry, painting, and oratory. These three arts are part of digital storytelling with the story line, visuals, and voice over. Digital storytelling, therefore, reaches more people because these arts are easily understood and accepted by people of all ages and education. Marshall McLuhan, the 20th-century Canadian scholar was an eclectic critic of technology and culture who anticipated the Internet. McLuhan used Vichian theory as the basis for some of his writings on technology. My study synthesizes and makes connections between McLuhan's writings on technology and the particular technology of digital storytelling. The new technologies bring back a secondary orality as well as more visual communication such as the radio and television in a print saturated culture. Today we are living in a world where writing, the spoken word and music, and visual images blend together in the digital milieu of the Internet. Digital storytelling is just one way that technology is being used to enhance an ancient genre. As one of its goals is to create community, this genre is trying to achieve what McLuhan suggested in the coming together of a global village.

“McLuhan’s Bulbs” argues that the 1960s movement of “light art” is the primary site of negotiation between the discourses of “medium” and “media” in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur-example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan’s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of “medium” into “media” on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural “light ballets,” “intermedia” environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene’s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds. These artists are represented here by Piene’s close friend and colleague, Wen-Ying Tsai. In the spirit of earlier examples of “computer art,” Tsai’s “cybernetic sculptures” used light to announce that art would no longer be defined by its material substrates, anticipating the fluid condition of media that we associate with new media art, and digital technology more broadly, today.

Our goal was to establish some form of interpretation between the analytical work of Carl Jung in depth psychology and the views of Marshall McLuhan regarding the impact of media. It was hoped that such a correlation of contrasting viewpoints would yield additional insight in the study of mass reactions to media. In accomplishing this purpose a “universe” based upon analytical psychology was juxtaposed with an expressly “McLuhanesque” analysis of media and technological effects. After establishing correlations between the major dynamics of the two systems, several functional conclusions were reached. These are: (1) that media have an inescapable influence, (2) that media sustain consciousness as their content, (3) that media take a major role in the functions of the unconscious, (4) that media participate in the integration between internal and external, and (5) that media directly effect the requirements for and suitability of symbolic vehicles. These conclusions are the product of correlations between two apparently dichotomous systems; one developed primarily through analyses of external effectors, and the other, primarily through analyses of internal elements. Since our conclusions are not in disagreement with current views in the field, the outcome of our research is in keeping with our goal of adding to available material dealing with the analysis of mass reactions to media.

Le travail de Willem Boshoff s’articule autour de la date charnière d’avril 1994, les premières élections démocratiques en Afrique du Sud. Il fait des sculptures en granite et des installations de matériaux accumulés. L’artiste revendique son attachement à un art basé sur le langage, il est écrivain de dictionnaires. En revisitant les questions posées par les artistes du XXème siècle, textes et œuvres produits en Europe sont systématiquement vérifiés au regard de leur contrepartie sud-africaine. L’attitude de Boshoff, une mélancolique interrogation de son rôle de créateur, s’explique par les conditions politiques et son milieu culturel. L’artiste découvre des façons plus dynamiques de faire geste quand il adopte ce persona du druide. Lors de son objection de conscience au service militaire il avait appris qu’il est mieux de cacher la véritable signification d’un signe ou d’inventer des façons de disqualifier les textes. Les “Notes pour une esthétique aveugle” où l’essentiel n’est pas visible, inventent un dictionnaire à être lu avec les mains. Boshoff interroge ici les théories de perception qui munissent l’artiste sud-africain d’une façon de faire basculer le monde occidental vers une pensée qu’il peut réclamer sienne. La multiplicité des langues en Afrique du Sud s’ouvre à des questions de mémoire, d’écologie, de disparition, d’espace mental, des limites de la ficticité. Boshoff incite son spectateur à une opération de traduction qui peut être envisagée de façon tangible dans des œuvres tels que “Writing in the Sand” et les “Jardins de mots”. Le druide est le berger des mots et des plantes en danger d’oubli. Par le même geste il les protège contre la possibilité d’être pétrifiés ou fossilisés dans une théorie ou dans un dogme. Un champ d’intelligibilité du travail de Boshoff est créé à l’aide d’esprits apparentés: Sarkis, Mofokeng, Baumgarten, Gette, Mudzunga, Ulrichs, Zulu, Kosuth, Wafer, Bochner, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan, Ivan Vladislavić. / Willem Boshoff’s work articulates around a pivotal date, April 1994, the first democratic elections in South Africa. He may choose to work gigantic rocks of granite or establish vast installations of accumulated material. The artist claims that his work is based on language, often taking the form of Dictionaries. While reviewing the main questions by artists of the twentieth century, texts or artworks from Europe are systematically tested against their South African counterpart. Boshoff’s attitude is determined by a melancholic questioning of his role as a creator linked to a political situation and cultural milieu. He discovers more dynamic ways of presenting gestures when his artistic activity is related to the way of life of a druid. As a conscientious objector he learnt that it is often better to hide the true signification of a sign or to disqualify a text. Boshoff’s “Notes towards a blind Aesthetic”, where the essential is not visible, invent a dictionary to be read with the hands. Questioning perception theories provides the artist with a way of capsizing the occidental world towards patterns of thinking that he can claim for himself. The multiplicity of languages in South Africa opens up to questions of memory, ecology, disappearance, mental space as a site of creation, experiments with the limits of the fictional. The druid is one exceptional character amongst others in the contemporary art world. Boshoff obliges his visitor to participate in an act of translation which is given provisional but tangible form in such works as “Writing in the Sand” and the “Gardens of Words”. The druid becomes the guardian of words and plants in danger of being forgotten also safeguarding them against being petrified or fossilized into a set theory or dogma. Kindred spirits working on all continents are: Sarkis, Mofokeng, Baumgarten, Mudzunga, Ulrichs, Kosuth, Wafer, Bochner, Gette, Filliou, Darboven, Alÿs, Acconci, Langa, Marshall McLuhan and Ivan Vladislavić.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-02-17T19:26:13Z No. of bitstreams: 1 Dissertação - Jumi Aislan Estrázulas.pdf: 1526430 bytes, checksum: 29b328a567cfa2a3183e9817bdde10fc (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-02-17T19:27:15Z (GMT) No. of bitstreams: 1 Dissertação - Jumi Aislan Estrázulas.pdf: 1526430 bytes, checksum: 29b328a567cfa2a3183e9817bdde10fc (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-02-17T19:31:42Z (GMT) No. of bitstreams: 1 Dissertação - Jumi Aislan Estrázulas.pdf: 1526430 bytes, checksum: 29b328a567cfa2a3183e9817bdde10fc (MD5) / Made available in DSpace on 2016-02-17T19:31:42Z (GMT). No. of bitstreams: 1 Dissertação - Jumi Aislan Estrázulas.pdf: 1526430 bytes, checksum: 29b328a567cfa2a3183e9817bdde10fc (MD5) Previous issue date: 2010-08-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / El presente trabajo trata de las cuestiones comunicacionales del sistema digital. Es una forma de intentar explorar una laguna existente en los estudios de modelos de comunicación, en especial, en esa nueva configuración post-moderna. El estudio parte de un abordaje sistémico, con influencias de la ecología, neurología, biología del conocimiento, lingüística, semiótica, análisis del discurso, análisis del medio para componer un modelo de comunicación digital. Bien como las derivas que la relación hombre y máquina digital, actuando en el medio digital, pueden realizar. Tiene como resultado una propuesta modelar de abordaje de un sistema de comunicación digital y el entendimiento de como esa unidad se ha tornado autopoiético. El trabajo refuerza la necesidad de una mayor concentración de los estudios en las relaciones digitales y extrae una línea evolutiva que justifica la posición pos-moderna delante del mundo digital no como alienación u homeostasis simplemente, pero como un analfabetismo de formación digital / O presente trabalho trata das questões comunicacionais do sistema digital. É uma tentativa de explorar uma lacuna existente nos estudos de modelos de comunicação, em especial, nessa nova configuração pós-moderna. O estudo parte de uma abordagem sistêmica, com influências da ecologia, neurologia, biologia do conhecimento, linguística, semiótica, análise do discurso, análise do meio para compor um modelo de comunicação digital. Bem como as derivas que a relação homem e máquina digital, atuando no meio digital, podem realizar. Tem como resultado uma proposta modelar de abordagem de um sistema de comunicação digital e o entendimento de como essa unidade se tornou autopoiética. O trabalho reforça a necessidade de uma maior concentração dos estudos nas relações digitais e extrai uma linha evolutiva que justifica a posição pós-moderna diante do mundo digital não como alienação ou homeostase simplesmente, mas como um analfabetismo de formação digital.