archives@tulane.edu / 1 / Blas Isasi gutiérrez

Denna uppsats har skrivits i samarbete med Uppsala Parkering AB (UPAB) arbetar med att implementera olika energitekniska lösningar för att elbilsladdande i Uppsala inte ska påfresta ett redan överbelastat elnät. Dessa lösningar innebär bland annat förändringar i hur och när människor laddar sina elbilar. Genom ett etnologiskt perspektiv undersöker denna uppsats hur människor skapar mening till ägandet, körandet och laddandet av sina bilar för att ge en ökad förståelse för hur el- och hybridbilsägare talar om och interagerar med sina bilar. Genom att analysera intervjuer med elbilsägare utifrån fenomenologiska och posthumanistiska begrepp visar uppsatsen hur elbilsägande och dess praktiker förstås som ett alternativt stig-val. Elbilsägandet som ett alternativt stig-val relateras till andra praktiker i elbilsägandet som körning och laddning och förklarar vilken mening de kopplar till dessa praktiker. Detta system av mening kan delas upp i tre riktningar: att elbilsägandet är något gott, något som är hotat och något som fungerar. Elbilskörandet och laddandet upplevs utifrån alla dessa tre riktningar vilket framkallar flera olika känslor och upplevelser. Oro och irritation känner elbilsförarna men också bra känslor av att köra och ladda miljövänligt och billigt. Körandet och laddandet upplevs också vara roligt och positivt utmanande, där materiella förutsättningar som bristande räckvidd och infrastruktur för laddning blir till en tävling i problemlösning. Genom att se på elbilsägandet och dess praktiker som sammanlänkade av mening, kan en urskilja vad som uppfattas vara viktigt i elbilsägarnas praktiker och hur olika känslor och intentioner hänger samman i elbilsägarnas förståelse för sin vardag.

I denna uppsats utforskar vi icke-mänskliga varelser och den mänsklighet vi som betraktare ger dem, både i position som mediekonsumenter samt producenter. Med en frågeställning som fokuserar på hur vi ska gestalta varelser i relation till antropomorfism, och genom granskning av den vaga gräns som existerar mellan fantasivarelser och verkliga djur, tar vi hjälp av teorier främst från Donna Haraway, Boria Sax, Jennifer Parker-Starbuck och Fanny Ambjörnsson. Ändamålet består i att belysa antropomorfiska stilgrepp, om hur och varför vi applicerar beteenden som antas styras av motiv liknande människans på djur, samt att öka förståelsen för den mänskliga linsens inblandning. Genom tidigare forskning, tecken- och färglära, samt en ständig medvetenhet kring posthumanism och mänskliggörande av djur, tar vi oss an att gestalta nyanserad antropomorfism i 3D. I vår undersökning framkommer det att ett kontinuerligt reflekterande krävs vid tillskrivande av attribut på varelser, eftersom vi ständigt tolkar omvärlden genom en mänsklig lins. Argument finns för att de varierade förutsättningarna olika djur är försedda med ger upphov till en helt annan iakttagelseförmåga än den människan besitter. Det behövs både ett kritiserande av människans natur och ett ifrågasättande av att som människa försöka uppfatta världen genom en icke-mänsklig varelses sinnen, när vad vi besitter är ett utifrånperspektiv till djurlivet. / In this bachelor thesis, we investigate non-human beings and the human traits we apply on them, both in a position as media consumers and as producers. The research question focuses on how to portray creatures in relation to anthropomorphism, and with an examination on the vague boundary that exists between imaginary animals and real animals, we explore anthropomorphism mainly through the theoretical lenses of Donna Haraway, Boria Sax, Jennifer Parker-Starbuck and Fanny Ambjörnsson. Our purpose is to illuminate the idea of anthropomorphism – how and why we apply human-like behaviours on animals – and to increase our understanding for the influence of the human lens. With previous research, semiotics, as well as an awareness about posthumanism and humanizing of animals, we come to terms with the depiction of nuanced anthropomorphism in 3D. Through our research it appears that we need to reflect constantly on our choices during application of attributes on creatures, due to our human interpretation of the world. There is discussion concerning the varying qualities among different kinds of animals, which declares that these attributes cause animals to possess a completely different perception than humans hold. It requires both a questioning about the nature of humans, and a criticizing of how we humans try to apprehend the surrounding world through the lens of a non-human creatures and their senses, when all we have is an outside perspective of the wildlife.

Studien tar avstamp i en kvalitetsgranskningsrapport från Skolinspektionen som visar på att arbetet med naturvetenskap i förskolan är bristfälligt på en fjärdedel av de förskolor som undersökts i granskningen samt att det naturvetenskapliga arbete som sker ofta är begränsat till vissa fält, så som djur och natur. I relation till denna rapport bygger studien också på tidigare forskning inom bland annat det förskoledidaktiska fältet med fokus på naturvetenskap och barns möten med olika fysikaliska fenomen. Studiens syfte är att ta reda på hur ofta barn möter fysikaliska fenomen i sin vardag med utgångspunkt i olika verb som förekommer inom fysik samt att synliggöra hur olika performativa agenter intra-agerar med varandra och hur potentiellt meningsskapande tillfällen om fysikaliska fenomen uppstår. Analysen av empirin utgår från en posthumanistisk teoribildning i form av agentisk realism, som ”plattar ut” och jämställer människa och material. Studien har en etnografisk ansats med kvalitativa och kvantitativa element och genomfördes med deltagande observationer och dokumenterades dels med en statistisk avprickningslista och dels med fältanteckningar och kompletterande fotografering. Resultaten visar att barnen på olika sätt kommer i kontakt med fysikaliska fenomen i vardagen, genom deras lek med olika material, vilket kan förstås som materiellt-diskursiva intra-aktioner. I dessa intra-aktioner uppstår tillfällen för potentiellt meningsskapande kring fysikaliska fenomen.

Nesta pesquisa procuramos investigar a animação japonesa como uma máquina para compreendermos como a copresença evolucionária de outros seres — técnicos e animais — potencializa outras compreensões sobre o humano. Com esse posicionamento, procuramos demonstrar como o humanismo, além de se constituir como um modelo filosófico, científico e civilizacional, também propôs uma visão estética sobre o humano. Para realizar uma abertura dessa herança, procuramos traçar uma genealogia do humano e dos objetos técnicos em correlação. A compreensão do anime como uma máquina parte da teoria de Thomas Lamarre, em conjunto com as teorizações de Gilbert Simondon, Félix Guattari e Gilles Deleuze. O viés da análise tem o pressuposto de que, se a construção da animação se dá por layers, ou camadas que misturam diferentes técnicas e perspectivas visuais, poderíamos dizer que elas revelam a suis generis de pensamento em ação na animação. O humano também é pensado como uma construção, assim a relação de explosão do humanismo e da implosão do antropocentrismo visa desterritorializar o humano nos seus componentes teóricos e poéticos. O surgimento da teoria pós-humanista foi inicialmente pavimentado graças à desterritorialização posta sobre o humano no pós-estruturalismo. Para aprofundar esse argumento partimos da herança em Nietzsche e Derrida até autores pós-humanistas como Donna Haraway, Cary Wolfe, Rosi Braidotti e Stefan Herbrechter. Após estabelecermos um panorama da animação de ficção científica no Japão, iremos nos debruçar na análise das animações Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) dirigida por Hideaki Anno e Ghost in the Shell: Innocence (2004) dirigida por Mamoru Oshii. De uma maneira geral a pesquisa foi dividida em três seções: pós-humanismo e techno-poética, máquina anímica e visões explosivas do humano. Na primeira, procuramos evidenciar uma genealogia do humano com atenção à sua coevolução e historicidade com os objetos técnicos, estabelecendo relações entre regimes de pensamento e estese. A segunda seção diz respeito às configurações da máquina anímica, suas relações com a tradição estética japonesa e com elementos da estética humanista, tal qual a perspectiva cartesiana. Procuramos demonstrar a existência de outros modelos visuais como uma abertura da heterogênese da máquina. A terceira seção é na qual iremos analisar as visões explosivas do humano na animação japonesa através das categorias analíticas propostas por Lamarre. Nossa hipótese é demonstrar como a máquina anímica poderia permitir uma heterogênese pós-humana através da dobra comunicacional do intervalo anímico. / In this research, we seek to investigate Japanese animation as a machine to understand how the evolutionary coo presence of other beings — technical and animal — enhances new understandings about the human. With this position, we try to demonstrate how humanism, besides constituting itself as a philosophical, scientific and civilizational model, also proposed an aesthetic vision about the human. To open this inheritance, we traced the genealogy of human and technical objects in correlation. The understanding of anime as a machine starts with the theory of Thomas Lamarre, together with the theorizations of Gilbert Simondon, Felix Guattari and Gilles Deleuze. Our analysis approach has the assumption that if the construction of the animation is made of layers that mix different techniques and visual perspectives, we could say that they reveal the suis generis of thought in action in the animation. We affirm that the human is a construction, so the relation of humanism explosion and the implosion of anthropocentrism aims to deterritorialize the human in its theoretical and techno-poetic components. The emergence of post-humanist theory has a debt to the deterritorialization put on the human in the post-structuralist theory. To deepen this argument we start from the inheritance in Nietzsche and Derrida to posthumanist authors like Donna Haraway, Cary Wolfe, Rosi Braidotti and Stefan Herbrechter. After we stablished an overview of science fiction animation in Japan, we will focus our analyses with the animations Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) directed by Hideaki Anno and Ghost in the Shell: Innocence (2004) directed by Mamoru Oshii. In general, the research was divided into three sections: posthumanism and techno-poetics, the animetic machine and explosive visions of the human. In the first, we try to show a genealogy of the human with attention to its coevolution and historicity with the technical objects, establishing relations between regimes of thought and aesthetic. The second section concerns the configurations of the animetic machine, its relations with the Japanese aesthetic tradition, and elements of humanistic aesthetics, such as the Cartesian perspective. We try to demonstrate the existence of other visual models as an opening of the heterogenesis of the animetic machine. The third section is where we will analyze the explosive visions of the human in Japanese animation through the analytical categories proposed by Lamarre. Our hypothesis is to demonstrate how the animetic machine could allow a post-human heterogenesis through the communication fold of the animetic interval.

abstract: The coyote of the natural world is an anthropomorphic figure that occupies many places within Southwestern Pueblo cultures in oral traditions as well as the natural environs. The modern-day coyote is a marginalized occupant of Southwestern milieu portrayed as an iconic character found in cartooned animations or conceptualized as a shadowed symbol of a doglike creature howling in front of a rising full moon. Coyote is also a label given to a person who transports undocumented immigrants across the United States–Mexico border. This wild dog is known as coyote, Coyote, Canis latrans, tsócki (Keresan for coyote), trickster, Wylie Coyote, and coywolf. When the biology, history, accounts, myths, and cultural constructs are placed together within the spectrum of coyote names or descriptions, a transmergent materiality emerges at the center of those contributing factors. Coyote is many things. It is constantly adapting to the environment in which it has survived for millions of years. The Southwest landscape was first occupied by rudimentary components of life evolving into a place first populated by animals, followed by humans. To a great extent, the continued existence of both animals and humans relies on their ability to obtain food and find a suitable niche in which to live. This dissertation unpacks how the coyote that is embedded in American Pueblo literature and culture depicts a transmergent materiality representing the constantly changing human–animal interface as it interprets the likewise transformative state of food systems in the American Southwest in the present day. / Dissertation/Thesis / Doctoral Dissertation English 2019

My work is a tribute to the disintegration of built environments, and the chaos and disturbance that it brings into the idea of what a city should look like. An ode to the ruins that are witnesses to destructive social and economic systems and that tell the stories of the life that once inhabited them. A comment and critique on humanities way of ruining everything: world that we live in and our self; a destructive behaviour that we refuse to admit we have, and desperately try to hide. We polish the façades and fake our appearance in order to keep the illusion. I am discussing the concept of ruin romanticism, comparing the garden ruins of the eighteenth century to the urban exploration of abandoned places of modern society, the fascination for what once was, but are no more and the different feelings these places might arouse. I describe how I through experiments with dying, deconstructed screen printing and distressing, manipulate fabrics to create an illusion of brick walls. And how I through experiments with display, sound and light explore solutions for creating the dystopic atmosphere of abandoned places in a textile installation. My biggest inspiration is the inevitable downfallof the urban landscape and I am romanticising the imperfections and the flaws. I take what is understood as ugly by the rules of aesthetics, make it beautiful, and put it on a pedestal.

Living in harmony with nature is a pervasive ideology, or cultural blueprint, of how a "sustainable future,” a "good society,” and a "fulfilled life" would look like. However, this notion of harmony with nature is highly paradoxical, as consumers often want and even must dominate and control nature. The current thesis explores consumers’ desires of living in harmony with nature through a post-human analysis of how backcountry hikers negotiate tensions between utilitarian and romantic discourses of nature vis-à-vis their experience of material forces of nature. Through conceptualizing nature as an active actor in a symmetric assemblage of material and cultural entities (i.e., nature agency), this thesis contributes to our understanding of the human/nature relationship, materialism, and sustainable consumption. Findings are presenting through three interrelated themes. The first theme highlights how hikers appropriate romantic discourses by seeking harmony in a nature that is perceived as external to civilization. Noting the contradiction that hikers’ quest for being in harmony with a “romantic nature” oftentimes exposes them to higher physical dangers in material nature, the subsequent themes explore how harmony can arise when hikers have to struggle with physical dangers of nature. Focusing on physical dangers that are experienced in material nature, theme 2 finds that hikers’ relationship with nature is highly ambivalent: They strive to experience “more nature and less civilization”, but also “more civilization and less nature.” The third theme explores how meanings of nature and technology emerge from fluidly shifting assemblages, finding that the same technological resources can both distract from and enable feelings of harmony with nature. These findings contribute to consumer research by broadening our understanding of the human/nature relationship and by challenging previous notions (Canniford and Shankar 2013) that technology and civilization must always betray consumers’ experiences of “romantic nature.” Furthermore, the notions of nature agency and that no single actor can unilaterally shape the assemblage of heterogeneous entities contribute to the emerging material turn in consumer research. Finally, this post-human analysis of consumers’ relationships with nature offers theoretical and practical implications for sustainable consumption and sustainable marketing. / Thesis (Ph.D, Management) -- Queen's University, 2014-01-31 14:58:31.326

This project focuses on science fiction literature of Spain and Argentina produced in the last twenty years (1990-2010). It hypothesizes that in this period a change of perspective substantially modified science fiction productions in both countries and converges into a new model of narrative. As a consequence of this reformulated vision, a new narrative perspective immerses readers in an era of simulation, hyperreality, and post-humanism. When advanced technology is able to modify the basic human anatomy, and persons are trapped between virtual and real universes, simulacra facilitate control of people in an effective and impersonal manner. Simultaneously, fictional scenarios show new post-human beings sharing future worlds with humans. In this regard, the new literary production leads the reader to a redefinition of what it means to be human. With a theoretical framework centered on simulacrum, hyperreality and post-humanism, this study places the use of new technologies and the critique of postmodern society at the epicenter of the discussion as proposed by selected novels.

Nesta pesquisa procuramos investigar a animação japonesa como uma máquina para compreendermos como a copresença evolucionária de outros seres — técnicos e animais — potencializa outras compreensões sobre o humano. Com esse posicionamento, procuramos demonstrar como o humanismo, além de se constituir como um modelo filosófico, científico e civilizacional, também propôs uma visão estética sobre o humano. Para realizar uma abertura dessa herança, procuramos traçar uma genealogia do humano e dos objetos técnicos em correlação. A compreensão do anime como uma máquina parte da teoria de Thomas Lamarre, em conjunto com as teorizações de Gilbert Simondon, Félix Guattari e Gilles Deleuze. O viés da análise tem o pressuposto de que, se a construção da animação se dá por layers, ou camadas que misturam diferentes técnicas e perspectivas visuais, poderíamos dizer que elas revelam a suis generis de pensamento em ação na animação. O humano também é pensado como uma construção, assim a relação de explosão do humanismo e da implosão do antropocentrismo visa desterritorializar o humano nos seus componentes teóricos e poéticos. O surgimento da teoria pós-humanista foi inicialmente pavimentado graças à desterritorialização posta sobre o humano no pós-estruturalismo. Para aprofundar esse argumento partimos da herança em Nietzsche e Derrida até autores pós-humanistas como Donna Haraway, Cary Wolfe, Rosi Braidotti e Stefan Herbrechter. Após estabelecermos um panorama da animação de ficção científica no Japão, iremos nos debruçar na análise das animações Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) dirigida por Hideaki Anno e Ghost in the Shell: Innocence (2004) dirigida por Mamoru Oshii. De uma maneira geral a pesquisa foi dividida em três seções: pós-humanismo e techno-poética, máquina anímica e visões explosivas do humano. Na primeira, procuramos evidenciar uma genealogia do humano com atenção à sua coevolução e historicidade com os objetos técnicos, estabelecendo relações entre regimes de pensamento e estese. A segunda seção diz respeito às configurações da máquina anímica, suas relações com a tradição estética japonesa e com elementos da estética humanista, tal qual a perspectiva cartesiana. Procuramos demonstrar a existência de outros modelos visuais como uma abertura da heterogênese da máquina. A terceira seção é na qual iremos analisar as visões explosivas do humano na animação japonesa através das categorias analíticas propostas por Lamarre. Nossa hipótese é demonstrar como a máquina anímica poderia permitir uma heterogênese pós-humana através da dobra comunicacional do intervalo anímico. / In this research, we seek to investigate Japanese animation as a machine to understand how the evolutionary coo presence of other beings — technical and animal — enhances new understandings about the human. With this position, we try to demonstrate how humanism, besides constituting itself as a philosophical, scientific and civilizational model, also proposed an aesthetic vision about the human. To open this inheritance, we traced the genealogy of human and technical objects in correlation. The understanding of anime as a machine starts with the theory of Thomas Lamarre, together with the theorizations of Gilbert Simondon, Felix Guattari and Gilles Deleuze. Our analysis approach has the assumption that if the construction of the animation is made of layers that mix different techniques and visual perspectives, we could say that they reveal the suis generis of thought in action in the animation. We affirm that the human is a construction, so the relation of humanism explosion and the implosion of anthropocentrism aims to deterritorialize the human in its theoretical and techno-poetic components. The emergence of post-humanist theory has a debt to the deterritorialization put on the human in the post-structuralist theory. To deepen this argument we start from the inheritance in Nietzsche and Derrida to posthumanist authors like Donna Haraway, Cary Wolfe, Rosi Braidotti and Stefan Herbrechter. After we stablished an overview of science fiction animation in Japan, we will focus our analyses with the animations Rebuild of Evangelion 3.0: You Can (Not) Redo (2012) directed by Hideaki Anno and Ghost in the Shell: Innocence (2004) directed by Mamoru Oshii. In general, the research was divided into three sections: posthumanism and techno-poetics, the animetic machine and explosive visions of the human. In the first, we try to show a genealogy of the human with attention to its coevolution and historicity with the technical objects, establishing relations between regimes of thought and aesthetic. The second section concerns the configurations of the animetic machine, its relations with the Japanese aesthetic tradition, and elements of humanistic aesthetics, such as the Cartesian perspective. We try to demonstrate the existence of other visual models as an opening of the heterogenesis of the animetic machine. The third section is where we will analyze the explosive visions of the human in Japanese animation through the analytical categories proposed by Lamarre. Our hypothesis is to demonstrate how the animetic machine could allow a post-human heterogenesis through the communication fold of the animetic interval.