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Orientador: Fátima Aparecida Cabral / Banca: Lúcia Arrais Morales / Banca: Terezinha Ferrari / Resumo: Neste trabalho buscamos analisar criticamente o fenômeno do pós-humano que se configura basicamente como uma ideologia contemporânea pela qual se assenta uma perspectiva pragmatista de homem, isto é, de homem apartado de sua humanidade e de seu devir na história. Interpretado como resultante dos recentes desenvolvimentos técnicos e científicos, o pós-humano seria assim uma projeção fáustica do homem para além da sua naturalidade biológica. No entanto, a partir de uma apreensão ontológica do homem como ser social, entendemos ser o pós-humano um equívoco conceitual à medida que faz do homem um ser sem qualidades essencialmente humanas, um ser sem consciência universal. Prova disso encontramos na concepção de homem forjada pelo físico norte-americano Norbert Wiener no bojo da cibernética, ou seja, um homem cuja identidade não consiste nesse material limitado e perecível que é o corpo, mas num padrão biológico informacional que pode ser transmitido ou modificado, pelo menos "teoricamente". Em vista disso, notamos que o ideário do póshumano é tributário dessa particular concepção de homem cibernético. / Abstract:In this work we critically examine the phenomenon of post-human that is configured basically as a contemporary ideology in which sits a pragmatist view of man, that is, a man apart from his humanity and its future in history. Interpreted as the result of recent technical and scientific developments, the post-human would be like a Faustian man's projection beyond its natural biodiversity. However, from an ontological apprehension of man as a social being, we understand that the post-human as a conceptual mistake that makes a man without qualities to be essentially human, without being a universal consciousness. Proof of that found in the conception of man forged by American physicist, Norbert Wiener of cybernetics in the bulge, or a man whose identity is not restricted and perishable material that is the body, but an informational biological pattern that can be transmitted or modified at least "theoretically". In view of this, we note that the idea of the posthuman is a tributary of that particular conception of human cybernetic. / Mestre

The following five essays are connected by their reference to a scene – imagined by the author Thomas Pynchon. The disappearance of historical cause, the subject, and the human constitute this epistemological scene. Each essay can be read without logically building off of any other – yet they form a wider assemblage of interpretative theory. These are fragments capable of recombination in any order. They shun systematization but welcome kinship. Pynchon's fiction is the substrate underlying each. Abstract machines of theorists thinking on similar wavelengths are used as catalysts in an effort to force a reaction – an attempt to transmute the stories of paranoid schlemihls into yet more paranoid epistemologies. How do we understand the degree to which we are organized by whatever systematizes? How do we relate to whatever organizes our knowledge, our identities? What, exactly, is playing us? These are the anxieties these essays share with Pynchon's characters and formulate the questions driving their theory. Call it the Post-Modern, the Post-Human, or any other Post, Pynchon anticipated its event horizon half a century before its more obvious implications made themselves clear. If we have passed fully over this horizon, figuring out where we are and what's going on has become a question of survival, and Pynchon's anticipation of our contemporary scene have become increasingly salient. These essays offer paranoid epistemologies for the age of disappearance.

This thesis addresses the rational properties of women’s gender identification and self-representation from political theorist Lois McNay’s generative logics, employing the Praedia of Julia Felix, Pompeii, as a case study. Previous debates rooted in semantics and representationalism have focused on non-elite stereotypes or negative gendered dichotomies fostered by comprehensive views on Roman women’s exclusion from public life. In contrast, this thesis adopts a new materialist approach, specifically drawing on feminist theorist Karen Barad’s agential realist method building on intra-activity in order to shed new light on the well-studied subject of how a non-elite woman was able to carve out an existence for herself in patriarchal ancient Roman society. Whereas past research has labelled non-elite Roman women as both passive and unproductive individuals, the present thesis proposes that agencies functioned as lived experiences which determined individuals’ abilities to actively connect with things and surroundings in different ways. Therefore, in order to analyze the interceding effects of agencies on gender identification and self-representation in connection to the Praedia of Julia Felix I argue that a broader view of performativity, embodying processes and materiality is needed. This view calls for a reconceptualization of relational entanglements in which material and social worlds are seen as mutually interconnected rather than separate entities isolated from the bodies responsible for creating these settings. Presenting the results based on a combined analysis of generative and new materialist models, I suggest that the Praedia of Julia Felix demonstrates a non-elite woman’s active participation in creating personal sustainability. This dynamic interplay between Julia Felix and her social surroundings in worth understanding in detail.

Art/Re-search (T)here is a SSHRC-funded project that creates new transdisciplinary understandings of art, research and pedagogy. A review of the literature finds that researchers from a wide range of academic fields employ transformational arts-based methods with their participants, but that they are far less likely to weave art-making in all stages of the research process themselves. While researchers “outside” of the arts experiment with art-making in their un/familiar re-search (Absolon, 2011; Rowe, 2020) contexts, I re-perform how new networks and assemblages emerge. Art/Re-search (T)here includes 6 other re-searchers/co-conspirators from different academic fields who identify a need for, and absence of, arts-based research in their respective spaces, including English, Cultural Studies, Social Work, Indigenous Studies, Game Design, Unions, and Education. The individual and collective work that is created throughout this project performs (post)qualitative (Lather, 2007; St. Pierre, 2011) practices and feminist new materialist posthumanism (Barad, 2007) through the data/dada (Morawski & Palulis, 2009) that arises. In the first article, the individual art/re-search that my co-conspirators (Taylor, 2019) and I create provokes me to think about telling stories differently (King, 2005) through the (in)tensions of art, the limitations of language and the embodied (be)longing that occurs through the virtual-material-discursive (Springgay & Truman, 2017). I work through belonging with each of my co-conspirators in the process. In my second article, I work through the initial research questions with my co-conspirators through a collaborative mail art project. Research questions change and shift. I think about how this relational inquiry unfolds as a new materialist (Barad, 2007) methodological space of getting lost (Lather, 2007) with ethico-onto-epistem-ologies (Barad, 2007) of trans-formation in trans-it -- whereby some-thing lost is getting (t)here. In my third article, I re-perform and re-imagine the data bodies and events (Rousell, 2018) of Art/Re-search (T)here after the project ends through a dadaist (Kuenzli, 2015; Richter, 2010) art installation titled Transpedagogical data/dada assemblages. This leads me to put a call of action for more transdisciplinary transpedagogical (Helguera, 2011) art/re-search within higher education (Loveless, 2019) and beyond as it creates space for data/dada, diffraction and difference (Barad, 2007; Haraway, 1988; Lather, 2007) to emerge in world that, I contend, should embrace emergence.

Made available in DSpace on 2016-04-26T18:13:18Z (GMT). No. of bitstreams: 1 Andre Noro dos Santos.pdf: 7203848 bytes, checksum: 230e22e865a2b85286ca377fe5492f4c (MD5) Previous issue date: 2013-10-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The topic of this dissertation is the man-machine relation in Japanese culture. As this is a very broad topic, the primary goal of this study was to analyze the animated series Neon Genesis Evangelion demonstrating how it shows the hybridization of human beings and machines in order to propose a reflection on the uses of new technologies in modern society. Although this object of study is part of the so-called otaku culture - that marks the production of Japanese pop since 1980, the main hypothesis of the research is that the construction of these hybrid bodies always existed in Japanese culture and that, contrary to what many Western authors state, for the Japanese this does not constitute a post-human condition. In Japanese tradition, various forms of puppet theater established no clear distinction between the body of the puppeteer and the body of the doll. In methodological terms, the proposal was to analyze the language of the animated series Neon Genesis Evangelion, demonstrating how it shows the hybridization of human and machine without suggesting, however, that this type of relationship originates in modern Japan. It is hoped that this study will contribute to the field of communication both in the sense of clarifying certain aspects of Japanese pop culture as well as in the discussions regarding the interface between the human body and technology / O tema desta dissertação é a relação homem-máquina na cultura japonesa. Por tratar-se de um tema muito amplo, o objetivo principal da pesquisa foi analisar a série de animação Neon Genesis Evangelion, demonstrando como esta evidenciou a hibridação entre seres humanos e máquinas, de modo a propor uma reflexão acerca dos usos das novas tecnologias na sociedade contemporânea. Embora este objeto de estudo faça parte da cultura otaku que marca a produção do Japão pop a partir de 1980, a hipótese principal da pesquisa é que a construção desses corpos híbridos sempre existiu na cultura japonesa e, ao contrário do que discutem vários autores ocidentais, para os japoneses não se trata de uma condição pós-humana. Desde o Japão tradicional, diversas modalidades de teatro de bonecos já propunham uma indistinção entre o corpo do manipulador e o corpo do boneco. Em termos metodológicos, analisou-se a linguagem da série de animação Neon Genesis Evangelion demonstrando como esta evidencia a hibridação estabelecida entre humano e máquina, sem sugerir, no entanto, que este tipo de relação tem início no Japão contemporâneo. Espera-se que a pesquisa contribua com o campo da comunicação, tanto no sentido de elucidar aspectos da cultura pop japonesa, como nas discussões acerca da relação entre corpo e tecnologia

This essay is about the photographer Lotten von Düben and her photographing of the Samí people in a research expedition to Lapland in 1868 in which she took part as the expedition photographer. This expedition is taking place in the mountainous area of Kvikkjokk [Huhttán in Lule-samí]. Lotten von Düben´s husband Gustaf von Düben is a Medical doctor, Anthropologist and Professor at the Karolinska Institutet and is the head of the research expedition. Lottens´s role in the expedition is to document for her husband who has taken on his ageing colleague Anders Retzius work of cataloguing his well-recognized collection of Lapp-skulls, and in addition conducts his own research of what he refers to as “the people as such”.  The essay is also about my own personal heritage as a Samí descendent where I in particular analyze Lotten von Düben´s photographs taken of my far distant relatives, representatives of the family Granström. The aim of my research is to explore the expedition and the scenery of Lotten von Düben´s photographing, which I refer to as “Photographing in the Safari of Lapland”. Through picture analysis and based on a post-human, new materialist feminist approach, I deconstruct the very moment of photographing and image development with the aim to develop new narratives, stories which are previously not told. The picture analysis includes also photographs relating to Lotten and her photographs in the  post-safari phase, emphasizing the photography´s and the public. With an intersectional approach I also deconstruct Lotten von Düben as female photographer and the context relating to this. The essay is about imagining the activity of thinking differently and wandering and get off the beaten track. It is about skilled hands and esthetics, technical innovations, modern science and social political movements; a melting pot of phenomena’s which cannot be taken apart, but binds each other sequence through sequence. The essay is about a camera and sensitive meetings, about binary social relations, power structures and unquestioned science, about otherness and self and moving in between. / <p>It is very interesting and appealing that the focus is put on the female photographer Lotten von Duben and the role of the camera in the knowledge production. Furthermore, the student’s urge to go beyond the known narratives and to try to think and write differently is highly appreciated and relevant. Interesting, appealing and important thesis that contributes to the field of knowledge of Gender Studies. It is also a creative thesis in terms of the chosen methods that promote different narratives that may add to new ways of thinking.</p>

This thesis explores the metaphoric cyborg concept, based on the classic essay "A Cyborg Manifesto" by Donna J. Haraway, through Claudia Springer and her analysis of cyborgs in popular culture, and in relation to Judith Butler and queer theory. By extending the cyborg term to include contemporary forms of cyborgship such as our internet lives and personas, I advocate discussion of philosophical matters concering man/machine-compounds today rather than tomorrow. The main purpose is to restore the cyborg concept as a meaningful analytic and philosophic tool for studying man/machine-relations, in a world where other theories concerning nature/culture, man/machine/animal, subject/object, and similar dichotomies, partly lack a technological perspective. Hopefully, this thesis manages to connect three decades of cyborg reflections from several points of view, posing interesting questions about our dealings and feelings towards our dear friends – the machines.

Generative AI systems for image-creation have taken a giant leap technologically in the last few years, creating opportunities for users and introducing new areas of research for the scientific community. New implementations for these technologies are discovered regularly and due to the complex nature of AI, there is an ongoing discussion among researchers on whether generative AI is yet another tool, or if there is potential for the technology to be something more. The aim of this study is to explore the nuances and complexity of co-creation with generative AI, using post-human and post-anthropocentric perspectives that consider human agencies as entangled with machine agency. To understand whether human-AI co-creation is sustainable and valuable as an activity, a netnographic study was conducted to explore the different aspects of user interaction. Among the most relevant of these aspects were the system limitations, dataset limitations, prompting, user goals and user procedures. The study found that the current limitations to the generative AI systems were too significant for the systems to display a high amount of machine agency. This ultimately pointed to human-AI co-creation being non-sustainable and non-valuable as an activity, but the resultsand following discussion also suggest how we can move on overcoming these limitations. / Generativa AI-system för bildskapande har teknologiskt tagit ett stort kliv framåt de senaste åren, detta har lett till möjligheter för användare och det har introducerat nya forskningsområden för forskarvärlden. Nya tillämpningar för dessa teknologier upptäcks regelbundet. På grund av den komplexa naturen hos AI så pågår en diskussion bland forskare gällande huruvida generativ AI är ett nytt verktyg, eller om det finns potential för teknologin att vara något mer. Denna studies mål är att undersöka nyanserna och komplexiteten hos samskapande med generativ AI, genom att använda post-humanistiska och post-antropocentriska perspektiv som betraktar mänsklig ”agency” som sammanflätad med maskiners ”agency”. För att förstå huruvida människa-AI-samskapande är hållbart och värdefullt så utfördes en netnografisk undersökning för att granska de olika aspekterna med användarinteraktion. Bland de mest relevanta av dessa aspekter var systembegränsningarna, datasetsbegränsningarna, promptning, användarmål och användarprocedurer. Undersökningen visade att de nuvarande begränsningarna hos generativa AI-system är för stora för att systemen skulle kunna uppvisa en hög grad ”maskin-agens”. Detta pekade i slutändan mot att människa-AI-samskapande är ohållbart och icke värdefullt som en aktivitet. Men resultaten och den följande diskussionen antyder också hur vi kan gå vidare med att övervinna dessa begränsningar.