Using the theoretical work of Hardt and Negri???s Empire and Beck???s Risk Society, I define current experiences of modernity as ???pathological???. The term ???pathological modernity??? is used because it portrays a modernity dominated by ???spirals of crisis??? that are aggravated by the solutions proposed to solve them. Like the ???war on terror??? and environmental degradation, I argue that many crises facing the world today reflect the characteristics of capital as they globalised, branded, hybridised, boundless and endless. ???Pathological modernity??? has various dimensions including a Cartesian logic underscored by an ???eternal truth???, free-market fundamentalism, certainty in decision making, and a scientism which believes all challenges can be overcome. Additional dimensions include an operational form of biopower, pathological reflexivity, and a frontier disposition that continually encloses non-commodified spaces (or commons) creating a crisis of scarcity. Despite its dominance, pathological modernity is being challenged on many fronts. Amongst these is the ???counter-globalisation??? movement (CGM). A heterogenous movement, it represents a qualitatively different form of globalisation and logic that brings it into conflict with pathological modernity. Using participatory research I investigate this movement grounding it within Hardt and Negri???s (2004) ???multitude???. Extending Hardt and Negri???s descriptions, I propose that the multitude ???works in common??? to establish new commons in both the physical and cultural spheres. Concentrating on the ???cultural commons??? I argue that these represent a new form of biopolitics and promote abundance where scarcity once existed. The four cultural commons identified are hope, trust, safety and intellect. Based on the work of Marcel Mauss, I argue that the reciprocal, free and open exchange and sharing of these cultural commons creates ???authentic??? communities based on openness, alterity and abundance. While the CGM works to establish new commons, pathological modernity encloses and commodifies them, turning hope into material aspirations; trust into anxiety; safety into security; and intellect into intellectual property.

Using the theoretical work of Hardt and Negri???s Empire and Beck???s Risk Society, I define current experiences of modernity as ???pathological???. The term ???pathological modernity??? is used because it portrays a modernity dominated by ???spirals of crisis??? that are aggravated by the solutions proposed to solve them. Like the ???war on terror??? and environmental degradation, I argue that many crises facing the world today reflect the characteristics of capital as they globalised, branded, hybridised, boundless and endless. ???Pathological modernity??? has various dimensions including a Cartesian logic underscored by an ???eternal truth???, free-market fundamentalism, certainty in decision making, and a scientism which believes all challenges can be overcome. Additional dimensions include an operational form of biopower, pathological reflexivity, and a frontier disposition that continually encloses non-commodified spaces (or commons) creating a crisis of scarcity. Despite its dominance, pathological modernity is being challenged on many fronts. Amongst these is the ???counter-globalisation??? movement (CGM). A heterogenous movement, it represents a qualitatively different form of globalisation and logic that brings it into conflict with pathological modernity. Using participatory research I investigate this movement grounding it within Hardt and Negri???s (2004) ???multitude???. Extending Hardt and Negri???s descriptions, I propose that the multitude ???works in common??? to establish new commons in both the physical and cultural spheres. Concentrating on the ???cultural commons??? I argue that these represent a new form of biopolitics and promote abundance where scarcity once existed. The four cultural commons identified are hope, trust, safety and intellect. Based on the work of Marcel Mauss, I argue that the reciprocal, free and open exchange and sharing of these cultural commons creates ???authentic??? communities based on openness, alterity and abundance. While the CGM works to establish new commons, pathological modernity encloses and commodifies them, turning hope into material aspirations; trust into anxiety; safety into security; and intellect into intellectual property.

A presente tese foi desenvolvida no Programa de Pós-Graduação em Informática na Educação-UFRGS e está filiado a linha de pesquisa “Interfaces Digitais em Educação, Arte, Linguagem e Cognição” “Transfotografia: O Píxel em Multidão” circunscreve o conceito de trans com vistas a problematizar a fotografia digital, em processo de manipulação, bem como os sujeitos, que operam tal processo em interação criativa, entendidos sob a luz do conceito de multidão (NEGRI; HARDT, 2005). A tentativa de produzir conhecimento em torno da fotografia digital em seu estado instituinte aponta para uma dimensão múltipla e ambígua e, pode assim, movimentar-se para além de coordenadas lineares: eis o movimento transversal que atravessa toda a discussão proposta. O estudo da imagem fotográfica digital presta-se à transdisciplinariedade localizada, aqui, entre a Psicologia Social, a Informática na Educação e a Filosofia. Colocar a imagem em emergência, em seus universos conceituais e, em sua imanência, requer pensá-la no limite. Tal limite situa-se em cada píxel que abriga a molecularidade que, quando acionada, pode tornar-se diferença e potência para passagem de uma imagem à outra. Pensar a imagem fotográfica digital em estado processual e molecular segue as marcas da subversão da forma, da verdade e da representação, levada por pontos de vista fugidios que constituem, assim, o horizonte desta tese. Este estudo está inscrito em um modo inventivo e experimental de produzir ciência, trazendo à tona um olhar-travessia em uma cartografia que utiliza a transfotografia como passagem para discutir o contemporâneo em algumas de suas faces tecnológicas e de subjetivação. Sua formulação mais precisa, poder-se-ia expressar do seguinte modo: Como a transfotografia pode operar como dispositivo clínico- político na multidão? / The research “Transfotography: The pixel in Multitude” circumscribes the concept of trans with views to render problematic to the digital photography, in process of manipulation, as well as the subjects that operate such process in creative interaction, understood under the light of the concept of multitude (NEGRI; HARDT, 2005). The attempt to produce knowledge based on the digital photograph in its institutive estate points towards a multiple and ambiguous dimension and, therefore, being able to move beyond the linear coordinates: thus the transversal movement that surpasses all the discussion proposed. The subjects in cooperation that operate the transphotography are understood as the former of only one body joined to the technological possibilities of expression and eclosion of difference. We want with this make feasible the reinvenction of the viewed and have the possiblity to view images that carry the marks of the impersonal and of the alterity. The study of the digital photographic image deals with the localized trandisciplinarity, here, among the Social Psychology, the Computer Science in Education and the Philosophy. Put the image to emerge, in its conceptual universes and in its immanence, requires to think of it in the limit. Such limit is in each pixel that holds the molecularity that, when put in action, can become the difference and the potency for the passage of one image to the other. To think the digital fotographic image in processual estate and, therefore, molecular following the marks of the subversion of form, of the truth and of the representation, taken by escaping points of view is the horizon of this research. This study, then, is inscribed in an inventive and experimental way to produce science, bringing up a crossing-view in a cartography that uses the transphotography as passage to discuss contemporaneous in some of its technological faces and of subjectivation. Its most precise formulation could be expressed this way: How the transphotografy can operate like dispositive clinical-political in multitude?

A presente tese foi desenvolvida no Programa de Pós-Graduação em Informática na Educação-UFRGS e está filiado a linha de pesquisa “Interfaces Digitais em Educação, Arte, Linguagem e Cognição” “Transfotografia: O Píxel em Multidão” circunscreve o conceito de trans com vistas a problematizar a fotografia digital, em processo de manipulação, bem como os sujeitos, que operam tal processo em interação criativa, entendidos sob a luz do conceito de multidão (NEGRI; HARDT, 2005). A tentativa de produzir conhecimento em torno da fotografia digital em seu estado instituinte aponta para uma dimensão múltipla e ambígua e, pode assim, movimentar-se para além de coordenadas lineares: eis o movimento transversal que atravessa toda a discussão proposta. O estudo da imagem fotográfica digital presta-se à transdisciplinariedade localizada, aqui, entre a Psicologia Social, a Informática na Educação e a Filosofia. Colocar a imagem em emergência, em seus universos conceituais e, em sua imanência, requer pensá-la no limite. Tal limite situa-se em cada píxel que abriga a molecularidade que, quando acionada, pode tornar-se diferença e potência para passagem de uma imagem à outra. Pensar a imagem fotográfica digital em estado processual e molecular segue as marcas da subversão da forma, da verdade e da representação, levada por pontos de vista fugidios que constituem, assim, o horizonte desta tese. Este estudo está inscrito em um modo inventivo e experimental de produzir ciência, trazendo à tona um olhar-travessia em uma cartografia que utiliza a transfotografia como passagem para discutir o contemporâneo em algumas de suas faces tecnológicas e de subjetivação. Sua formulação mais precisa, poder-se-ia expressar do seguinte modo: Como a transfotografia pode operar como dispositivo clínico- político na multidão? / The research “Transfotography: The pixel in Multitude” circumscribes the concept of trans with views to render problematic to the digital photography, in process of manipulation, as well as the subjects that operate such process in creative interaction, understood under the light of the concept of multitude (NEGRI; HARDT, 2005). The attempt to produce knowledge based on the digital photograph in its institutive estate points towards a multiple and ambiguous dimension and, therefore, being able to move beyond the linear coordinates: thus the transversal movement that surpasses all the discussion proposed. The subjects in cooperation that operate the transphotography are understood as the former of only one body joined to the technological possibilities of expression and eclosion of difference. We want with this make feasible the reinvenction of the viewed and have the possiblity to view images that carry the marks of the impersonal and of the alterity. The study of the digital photographic image deals with the localized trandisciplinarity, here, among the Social Psychology, the Computer Science in Education and the Philosophy. Put the image to emerge, in its conceptual universes and in its immanence, requires to think of it in the limit. Such limit is in each pixel that holds the molecularity that, when put in action, can become the difference and the potency for the passage of one image to the other. To think the digital fotographic image in processual estate and, therefore, molecular following the marks of the subversion of form, of the truth and of the representation, taken by escaping points of view is the horizon of this research. This study, then, is inscribed in an inventive and experimental way to produce science, bringing up a crossing-view in a cartography that uses the transphotography as passage to discuss contemporaneous in some of its technological faces and of subjectivation. Its most precise formulation could be expressed this way: How the transphotografy can operate like dispositive clinical-political in multitude?

A presente tese foi desenvolvida no Programa de Pós-Graduação em Informática na Educação-UFRGS e está filiado a linha de pesquisa “Interfaces Digitais em Educação, Arte, Linguagem e Cognição” “Transfotografia: O Píxel em Multidão” circunscreve o conceito de trans com vistas a problematizar a fotografia digital, em processo de manipulação, bem como os sujeitos, que operam tal processo em interação criativa, entendidos sob a luz do conceito de multidão (NEGRI; HARDT, 2005). A tentativa de produzir conhecimento em torno da fotografia digital em seu estado instituinte aponta para uma dimensão múltipla e ambígua e, pode assim, movimentar-se para além de coordenadas lineares: eis o movimento transversal que atravessa toda a discussão proposta. O estudo da imagem fotográfica digital presta-se à transdisciplinariedade localizada, aqui, entre a Psicologia Social, a Informática na Educação e a Filosofia. Colocar a imagem em emergência, em seus universos conceituais e, em sua imanência, requer pensá-la no limite. Tal limite situa-se em cada píxel que abriga a molecularidade que, quando acionada, pode tornar-se diferença e potência para passagem de uma imagem à outra. Pensar a imagem fotográfica digital em estado processual e molecular segue as marcas da subversão da forma, da verdade e da representação, levada por pontos de vista fugidios que constituem, assim, o horizonte desta tese. Este estudo está inscrito em um modo inventivo e experimental de produzir ciência, trazendo à tona um olhar-travessia em uma cartografia que utiliza a transfotografia como passagem para discutir o contemporâneo em algumas de suas faces tecnológicas e de subjetivação. Sua formulação mais precisa, poder-se-ia expressar do seguinte modo: Como a transfotografia pode operar como dispositivo clínico- político na multidão? / The research “Transfotography: The pixel in Multitude” circumscribes the concept of trans with views to render problematic to the digital photography, in process of manipulation, as well as the subjects that operate such process in creative interaction, understood under the light of the concept of multitude (NEGRI; HARDT, 2005). The attempt to produce knowledge based on the digital photograph in its institutive estate points towards a multiple and ambiguous dimension and, therefore, being able to move beyond the linear coordinates: thus the transversal movement that surpasses all the discussion proposed. The subjects in cooperation that operate the transphotography are understood as the former of only one body joined to the technological possibilities of expression and eclosion of difference. We want with this make feasible the reinvenction of the viewed and have the possiblity to view images that carry the marks of the impersonal and of the alterity. The study of the digital photographic image deals with the localized trandisciplinarity, here, among the Social Psychology, the Computer Science in Education and the Philosophy. Put the image to emerge, in its conceptual universes and in its immanence, requires to think of it in the limit. Such limit is in each pixel that holds the molecularity that, when put in action, can become the difference and the potency for the passage of one image to the other. To think the digital fotographic image in processual estate and, therefore, molecular following the marks of the subversion of form, of the truth and of the representation, taken by escaping points of view is the horizon of this research. This study, then, is inscribed in an inventive and experimental way to produce science, bringing up a crossing-view in a cartography that uses the transphotography as passage to discuss contemporaneous in some of its technological faces and of subjectivation. Its most precise formulation could be expressed this way: How the transphotografy can operate like dispositive clinical-political in multitude?

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Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-28T12:51:35Z No. of bitstreams: 1 Francisco Silva Mitraud.pdf: 8279045 bytes, checksum: 565f9aee2b4c5e12bec917af991c690a (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-28T12:52:14Z (GMT) No. of bitstreams: 1 Francisco Silva Mitraud.pdf: 8279045 bytes, checksum: 565f9aee2b4c5e12bec917af991c690a (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-12-01T11:20:49Z (GMT) No. of bitstreams: 1 Francisco Silva Mitraud.pdf: 8279045 bytes, checksum: 565f9aee2b4c5e12bec917af991c690a (MD5) / Made available in DSpace on 2017-12-01T11:22:30Z (GMT). No. of bitstreams: 1 Francisco Silva Mitraud.pdf: 8279045 bytes, checksum: 565f9aee2b4c5e12bec917af991c690a (MD5) Previous issue date: 2017-03-31 / The aim of this research is to problematize the mediatic representation of contemporary mobilizations, through an object that we call body-multitude. Our problem is to understand which senses are produced, especially by the printed media, in relation to the multitudes that articulate themselves to resist the hegemonic. For this, we carried out a review of the literature, in order to constitute a cartography of the various concepts about human collectives, from Rome and Greece, to the present day. Since classical antiquity, significant parts of society have been kept apart from power and the state. In contemporary times, authors such as Antonio Negri and Michael Hardt, Maurizio Lazzarato and Paolo Virno, based on the conception of Baruch de Espinoza, reflect on the mobilizations of the late twentieth and early twenty first centuries that confront the hegemonic, and conclude that these multitudes appear as a response and the possibility of new forms of democracy. From this perspective, the multitudes have in the body the essence of their nature, since it is from their plural and heterogeneous character that their biopotential emanates. In the past, the body, in its singularity, could resist and represent a collective - Gandhi and Mandela are both good examples. In postmodernity, its preponderance in the power relations remains, but mobilized to constitute with other bodies the biopotent multitude. To answer our research problem, we created a corpus with photographic images and texts from newspapers, magazines and alternative media that broadcast news about the demonstrations in Brazil in 2013 and 2016. To analyze it we fundamentally used the Theory-method of French discourse analysis, with emphasis on the intericonicity, device proposed by Courtine. The literature review and the corpus make it clear that the senses attributed to the multitude are unstable. Based on the findings, we conclude that, although the contemporary multitude is characterized by its plurality and heterogeneity, at all times there is a displacement of meanings, produced by textual-imagistic compositions, that bind it to previous conceptions and deny its nature and biopotential. The recurrence of these compositions was object of analysis which result is the proposal of six categories. The analysis also reveals an ontological impossibility of the imagetic representation of the multitude and that the printed media not only co-opts their discourses, but also produces meanings antagonistic to their nature, usually linking them to violence and to illegality and disqualifying their objectives. / O objetivo desta pesquisa é problematizar a representação midiática das mobilizações contemporâneas, por meio de um objeto que denominamos corpo-multidão. Nosso problema é compreender quais sentidos são produzidos, principalmente pela mídia impressa, em relação às multidões que se articulam para resistir ao hegemônico. Para tanto, realizamos uma revisão de literatura, a fim de constituir uma cartografia de conceitos sobre os coletivos humanos desenvolvidos por pesquisadores que se dedicaram ao tema, desde Roma e Grécia aos dias atuais. Desde a antiguidade clássica, numerosos grupos de pessoas foram mantidos à margem do poder e do Estado. Na contemporaneidade, autores como Antonio Negri e Michael Hardt, Maurizio Lazzarato e Paolo Virno, partindo da conceituação de Baruch de Espinoza, refletem sobre as mobilizações, que confrontam o hegemônico no final do século XX e início do XXI, e concluem que essas multidões surgem como resposta e possibilidade de novas formas de democracia. Nessa perspectiva, as multidões têm no corpo a expressão de sua natureza, posto que é de seu caráter plural e heterogêneo que emana sua biopotência. Outrora o corpo, na sua singularidade, poderia resistir e representar um coletivo – Gandhi e Mandela, por exemplo. Na pós-modernidade, em contexto de centralidade da mídia, sua preponderância nas relações de poder permanece, mas mobilizado para constituir com outros corpos a multidão biopotente. Para responder ao problema da pesquisa, constituímos um corpus com imagens fotográficas e textos de jornais, revistas e mídia alternativa que veicularam notícias sobre as manifestações no Brasil em 2013 e em 2016. Para analisá-lo, utilizamos fundamentalmente a teoria-método da Análise de Discurso de Linha Francesa, com destaque para o conceito de intericonicidade proposto por Courtine. A revisão de literatura e o corpus evidenciam que os sentidos atribuídos à multidão são instáveis. Por meio dos achados, concluímos que, embora a multidão contemporânea seja caracterizada por sua pluralidade e heterogeneidade, a todo momento há deslocamento de sentidos, produzido por composições imagético-textuais que a vinculam a sentidos precedentes e silenciam sua natureza e biopotência. A recorrência dessas composições foi objeto de análise, cujos resultados levaram à proposição de seis categorias sobre os modos de produção de sentidos. A análise revela ainda haver uma impossibilidade ontológica da representação imagética das multidões, e que a mídia impressa não apenas coopta seus discursos, bem como produz sentidos antagônicos à sua natureza, normalmente dando ênfase à violência, à ilegalidade e desqualificando seus objetivos.

The flaneur (“stroller, dawdler, leisurer, idler”) is an aesthetic and historical figure that arose in nineteenth-century Paris as a by-product of metropolitan growth. Walter Benjamin brought the flaneur to the consideration of the twentieth-century philosophical thought by choosing the figure as his conceptual persona. The goal of this work is to answer the question “who is the flaneur?” in an expansive way, tracing this figure’s conceptual life from its origins, through the flaneur’s role in Benjamin’s thought, to its contemporary state of being dispersed into the multitude. Building on the works of Benjamin, Charles Baudelaire, Henri Bergson, Georg Simmel, Gilles Deleuze and Felix Guattari, Patrick Keiller, Julia Kristeva, A. Kiarina Kordela, Paulo Virno, Tiqqun and others, the flaneur serves as a prism to critically viewing contemporary phenomena. The scope of this work encompasses the prevalence of metropolitan life and experience, disintegration of authenticity and exceptionality, rapid production and appropriation of the surplus by Capital, perception of time and duration, commodity fetishism, increasingly general attunements of alienation, anxiety and melancholy. While investigating the realities and conditons of contemporary existence, one can producitvely turn to the flaneur and his contemporary forms revolutionary qualities: potential for resistance and weakness for recuperation. / Flaneur (“vaikštinėtojas, bastūnas, dykinėtojas“) – estetinė ir istorinė figūra, atsiradusi XIX a. Paryžiuje kaip metropolio plėtros šalutinis produktas. Walteris Benjaminas iškėlė flaneur į XX a. filosofinę mintį, pasirinkdamas šią figūrą savo „konceptualiuoju personažu“. Šio darbo tikslas – išplėstai atsakyti į klausimą „kas yra flaneur?“, sekant šios figūros konceptualų kelią nuo kilmės, per jos vaidmenį Benjamino apmąstymuose, iki dabartinės flaneur būklės, kurioje jis yra išskydęs į daugybę kaip pastarosios bruožas. Remiantis W. Benjamino, Charles‘io Baudelaire‘o, Henri Bergsono, Georgo Simmelio, Gilles‘io Deleuze‘o ir Felixo Guattari, Patricko Keillerio, Julios Kristevos, A. Kiarinos Kordelios, Paulo Virno, Tiqqun ir kitų darbais, flaneur pasitarnauja prizme, per kurią kritiškai žvelgiama į šiuolaikinius reiškinius: gyvenimą ir patirtį metropolyje, autentiškumo ir išskirtinumo suirimą, Kapitalo vykdomą intensyvią pertekliaus gamybą ir nusavinimą, laiko ir trukmės suvokimą, prekinį fetišizmą, vis labiau visuotines susvetimėjimo, nerimo ir melancholijos nuotaikas. Tiriant šiuolaikinės egzistencijos realijas, nuolat grįžtama prie flaneur ir jo dabartinių formų revoliucinių ypatybių: būdingo potencialo pasipriešinimui ir silpnybės rekuperacijai.

This research explores Palestinian refugee women’s political rights through a broader examination of the gender dynamics in one refugee camp in Lebanon. Using two focus groups and individual interviews with 20 women, the research highlights the patriarchal and colonial structures that dominate the women’s lives, preventing them not only from engaging in political activities, but also hindering their opportunities for work and socialization outside their immediate familial spheres. The political disillusionment within the researched and broader Palestinian community, as a result of the encroaching project of Empire as defined by Hardt and Negri, has created a divided Palestinian cause, a failed youth, and a society attempting to hold on to its identity. However, along with that comes the oppression of a sub-section of that society – the women; the remaining possession that the men have. Women who previously engaged in armed resistance have not advanced politically, socially, or economically – and in fact the history of their struggles are being erased as surely as their land is. Nonetheless, pockets of resistance – a Multitude – of women, agents in their own fates, are fighting the current towards a more emancipatory future for themselves and future Palestinian men and women.

Made available in DSpace on 2016-04-26T18:15:22Z (GMT). No. of bitstreams: 1 Rafael de Oliveira Souza.pdf: 656557 bytes, checksum: 6aaa7b2fb44131161d5b865c6a23b14a (MD5) Previous issue date: 2015-12-04 / This dissertation analyzes some manifestations of theatrical language that arises in the confluence between the theater and the latest communication technologies. As a theoretical framework, the research presents debates proposed by Eugene Thacker about digital networks; reflections around the concept of multitude discussed by Antonio Negri and Michael Hardt related to the Pascal Gielen discussions about the artistic productions in neoliberalism times. The corpus of the dissertation consists of experiences about the Rede Teatro d@ Floresta, the theater group Belarus Free Theatre and the artist Amanda Palmer. The expected result is a reflection on the epistemological procedures between theatrical language and the new communication technologies, on the political impact of the new collectives activated by digital networks; and a possible reading of some digital theater experiences as biopolitics resistance networks / Esta dissertação de Mestrado analisa o chamado teatro digital. Trata-se de uma rede de experiências que emerge em diferentes contextos, acionando a confluência entre novas teatralidades e tecnologias da comunicação. Como fundamentação teórica, a pesquisa apresenta debates propostos por Eugene Thacker acerca de redes digitais; reflexões em torno do conceito de multidão discutido por Antonio Negri e Michael Hardt e provocações propostas por Pascal Gielen acerca de produções culturais e comunidades que convivem com os dispositivos de poder do capitalismo tardio. Além das discussões teóricas, o corpus da dissertação é composto por três estudos de caso: a Rede Teatro d@ Floresta, o grupo teatral Belarus Free Theatre e intervenções da artista Amanda Palmer. O resultado esperado é a construção de uma reflexão preliminar para explicitar o impacto político dos novos coletivos ativados pelas redes digitais, assim como a apresentação de experiências que esta pesquisa reconhece como redes de resistência biopolítica