Une mise en contexte présente l’évolution de la prise de décision du créateur dans des environnements où la technologie est sans cesse plus impliquée et autonome. Un survol des techniques génératives, de ses origines en musique jusqu’aux arts numériques, est présenté. Trois œuvres réalisées dans le cadre de ce projet de recherche-création sont ensuite analysées. Les outils et les techniques utilisés pour la réalisation de ces projets à dominante générative sont expliqués et commentés. Verklärter Rohr fait l’objet d’une analyse plus poussée sur l’aspect comprovisationnel de mon travail. Le développement de mon langage audiovisuel tel qu’il se rapporte au concept de synchrèse sera aussi examiné. L’analyse de Machine In The Shell, sert de terrain d’investigation pour expliciter des stratégies de spatialisation et de techniques d’écriture. L’analyse de Gu(I)t(A)rs développe sur l’utilisation de diverses technologies dont le Leap Motion, la synthèse par modélisation physique et l’intelligence artificielle. / Questions related to the evolution of creative decision-making are discussed, in relation to technology that is becoming more and more involved. An overview of generative techniques, from its origins in music to contemporary digital arts, is then presented. Then, three works produced as part of this research-creation project are analyzed. The different tools and techniques I used in making these works are explained and commented. Verklärter Rohr is the subject of a more in-depth analysis. The comprovisational angle of my work, as well as the development of my audiovisual language as it relates to the concept of synchresis will be discussed. An analysis of Machine In The Shell explain the strategies of spatialization and writing techniques I used. The analysis of Gu(I)t(A)rs expands on the use of various technologies including Leap Motion, physical modeling synthesis and artificial intelligence.

This thesis is concerned with an analysis of how David Foster Wallace's treatment of technology defines his understanding of the self in late 20th-century and early 21st-century America. With a primary focus on how this understanding evolved between the publication of his major novel Infinite Jest (1996) and his posthumously published unfinished novel The Pale King (2011), this thesis also takes into consideration Wallace's ideas as expressed through his many short stories, non-fiction works, and critical essays, most prominently "E Unibus Pluram: Television and U.S. Fiction" (1993). This thesis first briefly places Wallace in the context of contemporary literary scholarship, evaluating the state and extent of the nascent field of Wallace Studies. It then proceeds to examine and map out the philosophical underpinnings to Wallace's conception of the self, emphasising the importance of existential thought and the notion that the self is to be created rather than pre-existing in the individual. Technology as it is presented in Infinite Jest and The Pale King is then examined in relation to this philosophical understanding of the self, proving itself consistently to be an impediment to the existential self-becoming valorised in the novels. Wallace's early interest in entertainment technology as...

This essay applies human-animal studies in relation to the Swedish author Kerstin Ekman's books Guds barmhärtighet (1999), Sista Rompan (2002) and Skraplotter (2003) together called Vargskinnstrilogin. Kerstin Ekman's authorship is characterized by a coexistence between human, nature and animals where the stories entangle them into a dense complexity. As a reader, one is constantly reminded of this coexistence through Ekman's narrative approach as her stories contain many contact zones between humans and animals, which creates space for problematizing this entangled coexist from a posthumanistic perspective. The animals in the stories are at different distances to the human being based on their characteristics of being regarded as wild, domesticated or ferral. Based on these three categories, the wolf as a representative of the wild animals is analyzed in a theoretical context focusing on the function of different power structures within the anthropocentric paradigm. Ferral conditions are analyzed on the basis of, among other things, Gilles Deleuze and Félix Guattari's theories of animal-becomings, escape lines and rhizom where the dog mainly exists when it is embodied in close interaction with humans in Ekman's stories. The domesticated animals are analyzed on the basis of the tension between rural and urban, where the progress of the civil society are rapidly changing during the 20th century which creates changed relations between people and agricultural animals.

Our impact on the planet's functioning has allegedly become so profound that during the last years the scientific community has been considering assuming a shift from the Holocene - our current geological epoch - to the Anthropocene, the Age of Man. According to philosopher Bernard Stiegler, this "era of Humans" is not only visible in the devastation of natural ecosystems, but also through the destruction of human skills and methods of transmitting knowledge. The Anthropocene, which was initiated by the industrial revolution, thus passed through the industrialization of culture, and has disrupted our understanding of the world. Philosopher Rosi Braidotti proposes that with the advent of this new era, we ought to be aware of not only the ever-present environmental catastrophes, but that we also ought to use it as a tool for reappraising what it means to be Human. According to her, the Western subject was created as a product of the Humanist cultural hegemony which defined it within a logic of binary opposition. In light of these ideas, this Master's thesis attempts to show that art can provide us methods for redefining our relationship to each other, as well as to the wider world, and help us navigate the contours of the ongoing crisis. The work uses Posthumanist thought and its affiliated...

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This thesis is an exploration of the humanimal entanglements between humans and pigeons in the urban setting. It traces human-pigeon histories from pigeons’ domestication forward to the contemporary conceptions of pigeons as a pest animal. Pigeons are made visible in all of their cultural, socio-political, and symbolic and aesthetic dimensions, exposing their deep entanglements with humans across space and time. Using a combination of multi-species ethnography through ‘flaneur’ walks in Uppsala, Sweden and conceptual frameworks drawn from post-humanism, philosophy, and animal studies, pigeon-human relationships are problematized. The pigeon's ability to interrogate dualistic paradigms of nature/culture, wild/domestic, and human/animal are explored. It is argued that pigeons are active in the co-constitution of the urban space alongside humans, and are participating in reciprocal humanimal relations - they are not simply objects to be acted upon but have their own agency. From pigeons we can learn valuable stories about ourselves, and the more-than-human world.

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Det här examensarbetet speglar tankar och erfarenheter genom posthumanistisk och transhumanistisk teori i hur vi uppfattar klassrummet som pedagogiskt rum, specifikt kring de praktiskt estetiska ämnena och tillhörande undervisning. Undersökningen ämnar bearbeta elevers uppfattning kring det rumsliga i eftermälet av en tid där det fysiska har fått ge plats för det digitala under covid-19 pandemin. Är klassrummet ett pedagogiskt rum, som är en fysisk plats som upprätthålls genom vår närvaro, eller är det en socialkonstruktivistisk överenskommelse som vi kan skifta mellan det fysiska och icke-fysiska? Genom att åberopa tankegångar från allt mellan Foucault, Harraway och Claire Bishop ämnar arbetet synliggöra elevens perspektiv kring hur undervisning har uppfattats, tillgodogjorts och senare bedömts utifrån distansundervisningens parametrar. Genom att kombinera kvalitativa undersökningsmetoder såsom ideografisk etnografi, A/r/ tography och bildelicitering, ställer studien elever inför frågeställningen som ett gestaltandeproblem. Detta dels för att kunna frambringa ett tydligt empiriskt material i form av semiotiskt bildspråk, dels för att producera kvalitativa data som i förlängning kan formuleras och kontextualiseras till uppsatsen; men även ett gestaltande arbete. Gestaltningen har skett parallellt och kan och ska tolkas som ett direkt kommunikativt sätt att kontextualisera elevernas och författarens uppfattning kring det pedagogiska rummet. Relevansen för det bildpedagogiska fältet kan således direkt tolkas genom ett elev- och lärarperspektiv. Ett mångfacetterat sätt att se på en relativt enkel frågeställning - Hur uppfattar elever det fysiska rummet, i eftermälet av en pandemi där distansundervisning har dominerat.    Resultatet går av att avläsa i empirin som eleverna har frambringat och senare tolkats i en gestaltning som speglar två utbildningar genom pandemin - Författaren och deltagarnas.

How children create meaning in relation to their physical, social, and cultural worlds can be regarded as a central question, both within the traditional Swedish preschool discourse and within the Reggio Emilia philosophical approach to early childhood educa-tion. In the Reggio Emilia approach, the search for the meaning of life and of the self in life is seen as an essential human necessity (Rinaldi, 2006). In order to be able to capture the search for meaning, pedagogical documentation is recommended as a tool for making children’s learning processes visible and subject to col-lective interpretation and reflection. This documentation is regard-ed as a potential mediator between theory and practice (Dahlberg, Moss & Pence, 1999/2009). In the collective reflection on documentation, discourses about what can be interpreted as children’s meaning making are ex-pressed and negotiated. In turn, these discourses govern how chil-dren’s communicative expressions and actions are interpreted and understood. The different perspectives drawn upon in teachers’ in-terpretation and understanding of documentation produce differ-ent kinds of knowledge about how meaning is created. This may ultimately impact on the opportunities and spaces offered to chil-dren, both in terms of opportunities to act and communicate and in terms of the available ways “to be” in preschool practice.The aim of this study is to analyse the ways teachers talk about how children create meaning and signification in preschool prac-tice, within the context of working with pedagogical documentation. I use Norman Fairclough’s version of critical discourse analysis to discuss and analyse how teachers talk (realization and materializa-tion of discourse) in relation to social practice and educational policy context (Fairclough 1992; 2003; 2010). This contributes to the research field of early childhood education by providing a crit-ical and theoretical analysis of the transmission of philosophy and theory associated with the Reggio Emilia approach through work-ing with pedagogical documentation in a Swedish preschool set-ting. Fairclough’s analytical approach allows the way teachers talk about documentation to be understood as a dialectical lin-guistic realization of overall philosophical, theoretical, and politi-cal ideas and perspectives.The empirical data includes observations of teachers’ discussions of documentation from one preschool department with a Reggio Emilia approach in a larger municipality in southern Sweden. The empirical material consists of field notes and recorded audio. The ethical principles of the Swedish Research Council were kept in mind during data collection. Written consent was obtained from both the participating teachers and the parents whose children are featured in the documentation discussed. The analysis shows that in talking about how children make meaning in preschool practice, a discursive, and not always coher-ent, polyphony emerges. Ideas and discourses collide, are woven together, and are renegotiated. Three overarching themes emerge, which can be understood as reflecting different aspects of chil-dren's meaning making. The themes consist of talking about chil-dren’s interests, experiences, and meaning making in relation to the physical and social environment, materiality, and body. The children are described in diverse and sometimes contradictory ways. However, there is an evident overarching perception of the children as individually meaning making, interest driven, and with an ability to construct and evaluate their own knowledge and truth through an active, individual, and sensual experience of the world. Furthermore, the children are described as interacting with something more often than with someone. In this specific case, the emerging post-humanist or neo-materialist discourse seems to make the interpersonal interaction invisible. The docu-mentation also becomes a communicative link between teacher and child, which replaces communication and exchange of ideas in the immediacy of the moment.

In sports discourse, the relationship between athletics and technology is often paradoxical. On the one hand, modern sports rely on technology at every level, from training and tracking of players to the equipment and apparel used by athletes to the game strategies and playing fields themselves. Nearly all of these technologies are intended to increase athletic performance on some level. And yet, certain performance enhancement technologies can be criticized for being antithetical to the spirit of sports, which is framed as being a strictly natural and pure human endeavor. Using a rhetorical-cultural methodological approach, popular sports discourse is analyzed to investigate how arguments in contested spaces between sports and technologies get (re)negotiated and (re)articulated to fit within a sports social language that emphasizes "pure" and "natural" ideals of sport. This often results in a dichotomy where the sport/technology relationship is either black boxed, thus being subsumed in the sport social language and becoming transparent and the relationships unarticulated, or the technology is regulated out of the sport through rules and bans. The reason for this articulation is attributed in large part to the deep humanism embedded in the sport social language. How a shift to a posthuman perspective would effect sports discourse is explored. These conclusions about underlying values in sports discourse lead to the formation of a new theoretical framework called disciplinary mythologies. Building off of Foucault's disciplinary power, Scott's disciplinary rhetorics, and Barthe's mythologies, disciplinary mythologies are discrete units of persuasion that both construct and constitute claims by drawing upon layered narratives and shifting associations that lose their context when entering the realm of myth. Two specific disciplinary mythologies are discussed—the level-playing-field topos and the nostalgia enthymeme—and it is shown how sports discourse often draws upon them to shape arguments and actions.