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Studying the diverse, experimental, and unconventional work—particularly poetry—of Canadian writer bpNichol requires a better understanding of the material characteristics he used to give his writing unique significance. Nichol’s poems call for a plurality of new analytical methods, since traditional editorial and critical approaches often overlook the importance of materiality. This thesis presents three different approaches to critically considering Nichol’s work and highlighting its material aspects: comparing Nichol’s poetry to Dada aesthetics, examining multiple versions of individual poems using genetic criticism, and looking at the changes and similarities between print and digital material characteristics from the even wider perspective of media archaeology. Additionally, the benefits of a digital edition are argued in relation to all three editorial approaches, as digital presentation augments the focus on the materiality that is so integral to reading Nichol.

This Critical Review discusses the significance of the author’s published works and their impact on the history of the emergence of British television between 1926 and 1936. Although events in television within this period have since been well-documented, the related debates have tended to be specialist in scope and restricted to technology-centric or institution-centric viewpoints. Within this period of complex, rapid technological change, the author’s published works introduce the principle of embracing multiple disciplines for comparative analysis. The author’s application of that principle opens up long-established views for further debate and provides a re-assessment of early British television within a broader context. The rewards of this approach are a view of events that not only avoids nationalistic bias and restrictions of a single institutional viewpoint, but also tackles the complex inter-dependencies of technology, of service provision and of content creation. These published works draw attention to the revolutionary improvements that enabled the BBC’s 1936 service and the re-definition of television, yet also emphasise the significance of the previous television broadcast services. The most important innovation within these works has been the author’s discovery and in-depth study of artefacts from that earlier period. His recovery, analysis and presentation of video recordings of historic early television from 1927-1935 is original and remains unique. It has had a significant impact on the field of Media Archaeology, where Ernst considers the book Restoring Baird’s Image as a ‘seminal’ work and the overall restoration project ‘a brilliant case of “Digital Humanities” research’ (Appendix 2). The author’s curation of content from the period 1927-1935 enhances our understanding of a time where previously no direct television footage was thought to exist. The author extends his forensic-level investigative ‘hands-on’ techniques from this recovery to the analysis of the surviving artefacts from the time of John Logie Baird’s claimed first demonstration of television in 1926. The results clarify not only the functions of the equipment but also the circumstances and validity of the event, and hence its true place in the history of television.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-05-19T12:26:32Z No. of bitstreams: 1 Lúcio Siqueira Amaral Filho_.pdf: 19011403 bytes, checksum: 7cf088c18ce64c2373cba9e13369db99 (MD5) / Made available in DSpace on 2016-05-19T12:26:32Z (GMT). No. of bitstreams: 1 Lúcio Siqueira Amaral Filho_.pdf: 19011403 bytes, checksum: 7cf088c18ce64c2373cba9e13369db99 (MD5) Previous issue date: 2016-04-06 / Nenhuma / Esta pesquisa aborda a relação entre os meios e o seu comparecimento nas peças publicitárias produzidas para o YouTube. Para tanto, um primeiro movimento leva a pensar a web como multimeio, uma vez que ela atua como agente de transformações culturais e sociais no ambiente em que é inserida. Ao estabelecer um diálogo com outros meios, ela acaba por representá-los ou incorporá-los, apropriando-se de suas linguagens e gramáticas, na tentativa de atingir um status de real, além de conectar os usuários com dados culturais através do seu caráter informático. Em um segundo momento são discorridas as especificidades da publicidade na web, propondo três fases na sua trajetória: um novo ambiente, capaz de aumentar a segmentação dos públicos, individualizando a heterogenia dos públicos dos meios de massa; o protagonismo do meio, quando o seu foco foi a interação com o meio em si; e o protagonismo do usuário, no momento em que a construção de relacionamentos a partir dos sites de redes sociais ganhou força para estreitar os laços entre marcas e consumidores. Após, ingressa no YouTube e na variedade de abordagens por parte de autores que o tem como objeto de estudo, atestando o seu caráter mutante e complexo. Essas características são observadas a partir de fragmentos escavados no tempo do site, levando a despontar audiovisualidades publicitárias do jogo entre o usuário e a interface. Por fim, por meio de um “agir arqueológico” que escavou e coletou peças publicitárias produzidas para o YouTube através de fragmentos encontrados no tempo, foram cartografadas as constelações ambiência, reforma e homenagem, as quais contêm empíricos da homepage, da watch page e de brand channels, verticalizando o olhar para a identificação do fenômeno da relação entre os meios nessas peças publicitárias. / This research approaches the relationship between the media and their attendance in the advertising materials produced to YouTube. Therefore, a first move makes to consider the web as multimedium, since it acts as an agent of cultural and social changes in the environment which it is inserted. By establishing a dialogue with other medium, it turns out to represent them or incorporate them, appropriating their languages and grammars, in an attempt to achieve a real status, and connect users with cultural data through their computer character. In a second stage are elaborated upon the specifics of web advertising, proposing three phases in its history: a new environment, able to increase the segmentation of audiences, individualizing the heterogeneous public of the mass media; the protagonism of the medium, when its focus was the interaction with the environment itself; and the protagonism of the user, at the time building relationships from social networking sites gained strength to narrow connections between brands and consumers. After, it enters on YouTube and in the variety of approaches by authors that has it as object of study, attesting his mutant and complex character. These characteristics are observed from fragments excavated on the time of the site, leading to emerge advertising audiovisualities in the game between user and interface. Finally, through an “archaeological act” that excavated and collected advertising materials produced to YouTube through fragments founded in the time, were cartographied the constellations ambience, reform and homage, which contains empiricals of the homepage, watch page and brand channels, verticalizing the look for the identification of the relationship between the media phenomenon in these advertising materials.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-24T11:46:32Z No. of bitstreams: 1 Natália Aly Menezes.pdf: 27946657 bytes, checksum: 8d1cea71afe08bfa99c2cd060e96f7be (MD5) / Made available in DSpace on 2017-03-24T11:46:32Z (GMT). No. of bitstreams: 1 Natália Aly Menezes.pdf: 27946657 bytes, checksum: 8d1cea71afe08bfa99c2cd060e96f7be (MD5) Previous issue date: 2017-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research seeks to contextualize the experimental audiovisual practices of the present through a strong connection with the past. Thus, the thesis excavates the earliest sources of optical and acoustic investigations that have, over the years, resulted in machines and media that surround us nowadays. However, the research does not follow linearities of traditional history. The theoretical methodology of the media archaeology is used seeking to restructures the mediatic historicism. Therefore, it’s possible to make analogies between alchemical practices (methods and discoveries), and the audiovisual contemporary practices. Moreover, this research aims to approach past and present in a technical way, in the union and combination of analog and digital, proposing an analysis and the creation of fruitful hybrid structures of the experimental audiovisual / Esta pesquisa busca contextualizar as práticas audiovisuais experimentais do presente a partir de uma forte ligação com o passado. Para tanto, escava as mais antigas fontes de investigações óticas e acústicas que resultaram, ao logo dos anos, máquinas e mídias que nos cercam atualmente. No entanto, a pesquisa não segue linearidades da história tradicional. É usada a metodologia teórica da arqueologia das mídias que justamente reestrutura o historicismo midiático. Assim, é possível fazer analogias entre, por exemplo, práticas alquímicas – seus métodos e descobertas – para colocar em paralelo com os traquejos do audiovisual. Da mesma forma, esta pesquisa busca unir passado e presente de forma técnica, na união e combinação de estruturas maquínicas analógicas e o digital, propondo a criação e análise das frutíferas estruturas híbridas do audiovisual experimental

Esta dissertação busca compreender a imersão em realidade virtual (VR) enquanto problema de produção material, semiótica e cultural de espacialidades. Remete-se a imersão em VR à espacialidade panorâmica, caracterizada pela extensão homogênea e totalizante do plano visível em torno de um ponto de vista. Avalia-se, assim, a imersão sensorial como acontecimento irredutível a seu eventual assentamento tecnológico, o que encaminha mapeamentos de estratégias transmidiáticas (pintura, cinema, arquitetura etc.) para o fechamento espacial. Indagam-se os regimes de saber-poder aos quais se agenciam essas estratégias, concluindo-se que a imersão panorâmica responde a uma espisteme antropocêntrica e racionalista, com a subordinação da matéria a um espaço-receptáculo, por sua vez subordinado a um sujeito único e central. Tal sistematização do espaço, no que produz o quadro enquanto recorte parcial de um conjunto mais amplo, evidencia o invisível como virtualidade do campo visível, ao que a forma-panorama responde com uma colonização do extracampo. Assim, a função imediata do extracampo de sugerir conjuntos ausentes, em meios como a pintura e o cinema, se extravia nas operações de desenquadramento e reenquadramento em VR. Para estudar como a realidade virtual atualiza espacialidades imersivas e aberturas para conjuntos exteriores, foram realizadas observações com um Google Cardboard, tomando como corpus de análise três vídeos do aplicativo Within, disponível em Android e iOS. Entre os resultados, concluiu-se que a realidade virtual se agencia não apenas à cabeça e ao pescoço do usuário, mas ao seu corpo inteiro, e que a imersão ocorre mediante a invisibilização dos conjuntos que emolduram o espaço eletrônico. Identificaram-se atualizações de uma série de estratégias expressivas para a captura da “liberdade” de enquadramento, como a utilização de ruídos sonoros, linhas de visão e movimento, afectos de rostidade e montagem espacial privilegiando apenas uma zona do plano visível. Os mesmos recursos que “abriam” centrifugamente as telas pictórica e cinematográfica servem, em VR, para instaurar um jogo internalizante de linhas centrípetas. Com isso, se relacionou a imersão panorâmica em VR não mais ao mecanismo panóptico e enclausurante típico das sociedades disciplinares, mas a um modelo de fractalismo “aberto” que caracteriza o funcionamento do poder nas sociedades de controle. / This work seeks to comprehend immersion in virtual reality (VR) as a problem of material, semiotic and cultural production of spatialities. Immersion in VR is linked to a panoramic spatiality, characterized by the homogeneous and totalizing extension of the visible field around a point of view. Sensorial immersion is therefore reckoned as an event which is irreducible to its technological grounding, leading to the mapping of transmediatic strategies (in painting, cinema, architecture etc.) for the enclosure of space. The text inquires the regimes of truth and power to which these strategies are assembled and concludes that panoramic immersion serves an anthropocentric and rationalist episteme, subordinating matter to a vessel-space and a vessel-space to a single centralized subject. Such a systematization of space, while producing the frame as a partial selection of a wider set, also creates the invisible as virtuality of the visible field, to which the panorama will provide an answer by colonizing the out-of-field. The out-of-field’s immediate function of pointing to absent sets in mediums such as painting and cinema perishes, therefore, with VR’s operations of deframing and reframing To study how virtual reality actualizes immersive spatialities and openings to external sets, observations were conducted with the use of a Google Cardboard, having as object of analisys three videos from the app Within, available for Android and iOS. Among the results, it was found that virtual reality connects not only the user’s head and neck to the digital space, but his whole body, and that immersion occurs by invisibilizing the external sets which enframe the digital space. A series of expressive strategies were found to be actualized to capture the “freedom” of framing, such as sound noises, lines of vision and movement, face affects and spatial montage favoring a single limited portion of the visible field. The same expedients which centrifugally “opened” pictorial and film screens now act, in VR, to establish an internalizing game of centripetal lines. Panoramic immersion in VR was finally related not anymore to the panoptic and besieging mechanism typical of the disciplinary societies, but to a model of “open” fractalism which caracterizes the operation of power in the societies of control.

La recherche documentée dans ce mémoire de thèse de doctorat entend proposer une voie complémentaire à l'éducation aux médias telle qu'elle se pratique actuellement dans les établissements d'enseignement du secondaire et du supérieur. Pour ce faire, nous avons exploré la piste d'un champ théorique et pratique, d'origine anglo-saxonne et germanique, que l'on nomme Archéologie des media. Il s'est agi de proposer un cadre théorique interdisciplinaire incluant cette discipline afin d'en proposer une première transposition didactique, mise en œuvre à travers des ateliers et des dispositifs originaux. Leur conception et leur évaluation, appuyées sur une méthodologie de recherche orientée par la conception, ont été au cœur de ce travail. / This research aims to explore alternative ways to practice media education as we do in middle school, hight school and university. It explores an original field, recently discovered in France, called media archaeology. In this work, we have built a theorical and multidisciplinary frame including media archaeology in order to propose, for the first time, its didactic transposition for secondary education. Thus, we conveived and evaluated workshops, helped by a design-based research methodology.

This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period's new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists' work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.

Esta dissertação busca compreender a imersão em realidade virtual (VR) enquanto problema de produção material, semiótica e cultural de espacialidades. Remete-se a imersão em VR à espacialidade panorâmica, caracterizada pela extensão homogênea e totalizante do plano visível em torno de um ponto de vista. Avalia-se, assim, a imersão sensorial como acontecimento irredutível a seu eventual assentamento tecnológico, o que encaminha mapeamentos de estratégias transmidiáticas (pintura, cinema, arquitetura etc.) para o fechamento espacial. Indagam-se os regimes de saber-poder aos quais se agenciam essas estratégias, concluindo-se que a imersão panorâmica responde a uma espisteme antropocêntrica e racionalista, com a subordinação da matéria a um espaço-receptáculo, por sua vez subordinado a um sujeito único e central. Tal sistematização do espaço, no que produz o quadro enquanto recorte parcial de um conjunto mais amplo, evidencia o invisível como virtualidade do campo visível, ao que a forma-panorama responde com uma colonização do extracampo. Assim, a função imediata do extracampo de sugerir conjuntos ausentes, em meios como a pintura e o cinema, se extravia nas operações de desenquadramento e reenquadramento em VR. Para estudar como a realidade virtual atualiza espacialidades imersivas e aberturas para conjuntos exteriores, foram realizadas observações com um Google Cardboard, tomando como corpus de análise três vídeos do aplicativo Within, disponível em Android e iOS. Entre os resultados, concluiu-se que a realidade virtual se agencia não apenas à cabeça e ao pescoço do usuário, mas ao seu corpo inteiro, e que a imersão ocorre mediante a invisibilização dos conjuntos que emolduram o espaço eletrônico. Identificaram-se atualizações de uma série de estratégias expressivas para a captura da “liberdade” de enquadramento, como a utilização de ruídos sonoros, linhas de visão e movimento, afectos de rostidade e montagem espacial privilegiando apenas uma zona do plano visível. Os mesmos recursos que “abriam” centrifugamente as telas pictórica e cinematográfica servem, em VR, para instaurar um jogo internalizante de linhas centrípetas. Com isso, se relacionou a imersão panorâmica em VR não mais ao mecanismo panóptico e enclausurante típico das sociedades disciplinares, mas a um modelo de fractalismo “aberto” que caracteriza o funcionamento do poder nas sociedades de controle. / This work seeks to comprehend immersion in virtual reality (VR) as a problem of material, semiotic and cultural production of spatialities. Immersion in VR is linked to a panoramic spatiality, characterized by the homogeneous and totalizing extension of the visible field around a point of view. Sensorial immersion is therefore reckoned as an event which is irreducible to its technological grounding, leading to the mapping of transmediatic strategies (in painting, cinema, architecture etc.) for the enclosure of space. The text inquires the regimes of truth and power to which these strategies are assembled and concludes that panoramic immersion serves an anthropocentric and rationalist episteme, subordinating matter to a vessel-space and a vessel-space to a single centralized subject. Such a systematization of space, while producing the frame as a partial selection of a wider set, also creates the invisible as virtuality of the visible field, to which the panorama will provide an answer by colonizing the out-of-field. The out-of-field’s immediate function of pointing to absent sets in mediums such as painting and cinema perishes, therefore, with VR’s operations of deframing and reframing To study how virtual reality actualizes immersive spatialities and openings to external sets, observations were conducted with the use of a Google Cardboard, having as object of analisys three videos from the app Within, available for Android and iOS. Among the results, it was found that virtual reality connects not only the user’s head and neck to the digital space, but his whole body, and that immersion occurs by invisibilizing the external sets which enframe the digital space. A series of expressive strategies were found to be actualized to capture the “freedom” of framing, such as sound noises, lines of vision and movement, face affects and spatial montage favoring a single limited portion of the visible field. The same expedients which centrifugally “opened” pictorial and film screens now act, in VR, to establish an internalizing game of centripetal lines. Panoramic immersion in VR was finally related not anymore to the panoptic and besieging mechanism typical of the disciplinary societies, but to a model of “open” fractalism which caracterizes the operation of power in the societies of control.

Esta pesquisa tem como objetivo analisar a imagem de Drácula ao longo de seus mais 100 anos de existência em nossa cultura, sobretudo em suas representações nos meios literários e audiovisuais. Buscamos traçar as transformações do personagem e de sua história ao longo de um grande percurso de incursões cinematográficas. Para isso iniciaremos um debate sobre a imagem do vampiro, sua origem e suas diversas evoluções desenvolvendo o que chamamos aqui de Mitologia Vampírica, aproveitando para apresentar o estudo das materialidades como um complemento metodológico às clássicas análises já existentes. Em seguida, traremos o vampiro para a literatura, destacando o livro de Stoker como o mais importante vampiro da história. Drácula, embora seja um produto literário, alcança seu ápice no meio audiovisual como um dos personagens mais representados e uma das histórias mais adaptadas como veremos através de uma pequena arqueologia de suas aparições no cinema. Para finalizar nosso estudo, nos aprofundaremos na análise de 5 filmes, que julgamos ser os mais pertinentes dentro de todas as transposições fílmicas até então feitas sobre o livro de Bram Stoker / This research aims to analyze the image of Dracula throughout its more than 100 years of existence in our culture, especially in its representations in literary and audiovisual media. We seek to trace the transformations of the character and his story along a major route of cinematographic incursions. For this we shall initiate a debate on the image of the vampire, its origin and its various evolutions developing what we call here Vampiric mythology, taking the opportunity to present the study of materiality as a methodological complement to the classical analyzes already existent. Then we will bring the vampire to literature, highlighting Stokers book as the most important vampire in history. Dracula, though a literary product, reaches its climax in the audiovisual medium as one of the most represented characters and one of the most adapted stories as we shall see through a small archeology of its appearances in the movies. To conclude our study, we shall deepen in the analysis of 5 films, which we believe to be most relevant in all the filmic transpositions hitherto made about Bram Stokers novel