In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences.

Le sentiment de présence, but ultime de la réalité virtuelle, peut être atteint en stimulant ces quatre "piliers" que sont l'immersion, l'interaction, le maintien de la boucle action-perception et les émotions. Notre objectif est de proposer des méthodes visant à améliorer ce sentiment en s'intéressant plus particulièrement à la perception visuelle. Dans cette optique, nous proposons tout d'abord une solution appliquant le rendu stéréoscopique sur carte graphique. Traditionnellement effectué en deux passes, ce rendu se fait maintenant en une passe, grâce aux shaders et au regroupement de certaines phases de calculs. Nous étendons ce processus de rendu aux tout récents écrans auto-stéréoscopiques nécessitant plus de deux vues, améliorant d'autant plus les temps de calcul. Pour assurer l'immersion et l'interaction, voire l'émotion, nous avons aussi cherché à diminuer la fatigue oculaire induite par les images stéréoscopiques, en ajoutant un flou de profondeur de champ. Ce flou, obtenu en temps réel grâce aux shaders, permet également d'inviter l'observateur à focaliser son attention sur des objets précis au lieu de laisser son regard errer. Enfin, un objectif pour obtenir le sentiment de présence est de faire croire à l'utilisateur qu'il existe dans la scène virtuelle. Notre contribution à ce but, est d'intégrer de manière naturelle une représentation virtuelle de l'utilisateur. Pour cela, nous créons par visual hulls un avatar à l'aide de caméras. Finalement, cet avatar est employé pour illustrer la présence de l'utilisateur au travers de surfaces réfléchissantes virtuelles ou de la projection de son ombre / The feeling of presence is the ultimate goal of a virtual reality system. It can be achieved by stimulating its four pillars that are immersion, interaction, consistency of the action-perception loop and emotions. Our objective is submit methods which could increase this feeling of presence. We will especially focus on visual perception. First, we present a solution applying the stereoscopic rendering on GPU. Using the latest shaders extensions, we join the traditional two passes to a single that reduce redundant computation. Our method can also be applied on recent autostereoscopic screens which need about ten different view points. The second contribution refers to eyestrain caused when a user watches stereoscopic images during a long time. We propose to use the graphic cards to render, in real time, a blur on problematic areas thus the user will focus on the others. We also use blur to point out some objects of the virtual scene that we considerate as important and avoid to let user's eye wander. Finally, we propose a method to increase the presence of the user into the virtual environment. An avatar, based on images taken from several cameras and visual hull method, is first build. In a second stage, the avatar is integrated into the virtual scene so it seems natural to the user. Thus we use reflective surfaces like mirrors or virtual lights interactions like shadows

L'autobiographie pose problème quand elle est envisagée dans le genre théâtral. Du fait que l'auteur dramatique s'exprime par la bouche d'êtres fictifs, la parole des personnages ne pourrait être assimilée à la sienne. Pourtant, il semble que, tant dans les dialogues qu'elles donnent à entendre que dans les situations, personnages et lieux qu'elles mettent en scène certaines pièces, en particulier à partir du XVIIIe siècle, qui constitue une étape majeure dans l'expression de soi, portent en elles les signes d'une expression autobiographique. Si l'autobiographie n'existe pas au théâtre dans les termes dégagés par des théoriciens comme P. Lejeune ou G. Gusdorf, nous étudions ici les modalités sous lesquelles elle se manifeste néanmoins, quasiment toujours de manière cachée, implicite, ambiguë, détournée mais affective. En plus d'une méthode qui permettrait, au lecteur d'une part, au spectateur d'autre part, d'identifier et d'attester cette expression autobiographique en dégageant certains aspects textuels et scéniques, nous nous attachons à réfléchir à l'expression autobiographique avec la relation qu'entretiennent les oeuvres de notre corpus avec le public, une relation toute entière épanouie dans l'émotion. Des sentiments qu'accompagnent des réactions physiques ressenties par le lecteur/spectateur sont donc générées par la reconnaissance de la voix de l'auteur dans un drame qui mêle autobiographie et fiction. Nous nous intéressons à l'expression autobiographique de l'auteur dramatique dans la perspective d'une relation particulière de celui-ci avec le public, relation qui contraste avec les principes brechtiens qui ont dominé la création théâtrale au XXe siècle. / The autobiographical genre is a problem when it is considered inside the theatral genre. Because the dramatical author express himself through the mouth of fictional characters, the words of the characters could not be considered as the expression of the author himself. However, it seems that through the dialogues that can be heard, the situations, the characters and the places that are staged, some plays, especially since the 18th century, which represents a major step in self-expression, contains the signs of an autobiographical expression. Although the autobiographical genre as defined by P. Lejeune or G. Gusdorf does not exists in the theatre genre, we will study here how it nevertheless expresses itself, that is to say almost always in a hidden, implicit, ambiguous, diverted, but probable way. We will think of a method allowing the reader, but also the member of the audience, to identify and testify the presence of this autobiographical expression by emphazising some textual and scenic aspects. We will also work on connecting the autobiographical expression with the relationship that live the authors of the new work contained in our corpus with the audience. This relationship being fully opend up in emotion. Some feelings, coming with physical reactions felt by the reader/audience, are created by the recognition of the author's voice in a drama that mixes autobiographical and fiction. We will take an interest in the autobiographical expression of the dramatical author through the perspective of his particular relationship with the audience, relationship that contrasts with Brecht's principles, which have ruled the theatrical creation in the 20th century.

Blended learning has sometimes been calledthe best of both worlds, combining the advantages of face-to-face instruction with the advantages of online learning. It has been in existence for over a decade, and more research needed to be done to determine its efficacy and desirability for community colleges. The goal of this dissertation was to document the ways in which blended learning has changed the community college learning experience. The investigation took place at Ulster County Community College, a small rural college in upstate New York. A mixed method, triangulation design was used. Quantitative data were collected from the college's student database regarding final grades in each of the three delivery modes (face-to-face, blended, and fully online). An analysis of variance looked at difference in achievement among the three modalities. No statistically significant difference was found. Archival end-of-semester student questionnaires were analyzed and it was found that even in the early years of blended learning, students were generally satisfied and appreciated the convenience of the blended modality. Qualitative data were collected through a student focus group and faculty interviews. Student priorities were teacher presence, faculty skill at teaching blended classes, and the support that was available to them from the faculty and administration. Faculty voiced concerns with transitioning from teaching face-to-face or online to teaching blended. The results suggest that it is not the modality of the course that determines whether or not a student is successful; teacher presence, whether online or in person, is a strong indicator of student success and satisfaction. An instructor who is well-versed in the pedagogy of blended learning, a course with skillfully designed and integrated online components, and an administration that provides channels for technical support, combine to provide students with a successful blended learning experience.

360º videos have emerged as a technology that providesnew possibilities for filmmakers and users alike. Thisresearch study will look at 360º videos and the level ofspatial immersion that users can achieve while viewingthem in different contexts. A number of studies havelooked at immersion in virtual environment. However, thesame does not apply to 360º videos. The paper willintroduce related work in the areas of 360º as well asimmersion and spatial immersion in virtual realityenvironments in order to provide a background for theresearch question. The process of answering this researchquestion is conducted through showing test subjects fivedifferent videos in set in different locations andinterviewing them as well as asking them to take part in aquestionnaire. The study analyses the findings that emergefrom the interviews and questionnaire in relation to thespatial immersion dimensions that are presented in background literature. Among the study's findings is that the potential movements and actions that users feel theycan perform in the virtual environment is a significantfactor when it comes to achieving spatial immersion. Thestudy also concludes that movement is another factor thathelp users achieve spatial immersion.

<p>Visitors’ expectations of museums in the modern world consist of both utilitarian and hedonic aspects. Given visitors’ diverse expectations and demands, traditional museums have taken actions to attract more visitors. Taking advantage of new technologies is the current action and trend in the museum industry. The emergence of digital museums is the reflection of this tendency, which use digital technologies such as projectors, surrounded sound, ambient lights, and multisensory cues to present a virtual environment. In the virtual environment, emotional state and sense of presence are considered to be useful to provide a more engaging experience. Therefore, this research empirically investigated digital museum visitor experience perceptions and the influence of emotional state and sense of presence on experience perceptions. The different impact of multisensory cues on experience and the relative mediation effect were also examined.</p> <p>Data were collected with a scenario-based online survey conducted through Amazon Mechanical Turk (MTurk). A split-sample approach with a total of 382 respondents was used for analysis. Exploratory factor analysis and confirmatory factor analysis were used to explore visitor experience perceptions of the digital museum. Structural equation modeling was used to discover the impact of emotional state and sense of presence. One-way analysis of variance was used to compare the difference in impact of multisensory cues on overall visitor experience. This research also employed the PROCESS macro in SPSS for demonstrating the mediating effect of emotional state and sense of presence through the impact of multisensory cues on overall visitor experience. The findings of this study revealed three experience perceptions—respectively, joviality, personal escapism, and localness experiences—of digital museums. Also, this research presented the positive effect of emotional state on joviality experience and negative effect of emotional state on localness experience. In addition, a notable positive impact of sense of presence on joviality, personal escapism, and localness experience perceptions was found. No significant effect of emotional state on personal escapism was found in this research. Moreover, visual and auditory cues together were confirmed as the most powerful indicator for triggering the greatest experience level. The impact was found to be valid due to the mediating role of emotional state and sense of presence.</p> <p>This research contributed theoretically and practically to museum literature and experience research. Theoretical implications were discussed to indicate this research as the framework to measure digital museum visitor experience based on the proposed three-factor structure. Practical implications were provided for museum managers. Limitations and future research were discussed.</p>

Esta pesquisa pretende examinar as articulações e tensões entre o narrativo e o sensorial no cinema, trazendo como fio condutor, entre as convenções do narrativo e a imediaticidade do sensorial, o personagem cinematográfico. Entendemos que, sem abandonar as condições narrativas e representacionais que o produzem e definem (personagem-pessoa), o personagem de cinema é também um importante catalisador de afetos que agenciam memória e imaginação (personagem-figura) e, de modo mais substancial, um efeito produzido a partir de elementos concretos que se manifestam em termos de performatividade e de plasticidade (personagem-presença). Dessa forma, investindo numa reformulação da noção de personagem como \"efeito de personagem\" e explorando disjunções possíveis entre corpo, ator e personagem (sobretudo em filmes nos quais vários atores desempenham o mesmo papel ou, ao contrário, um mesmo ator desempenha diversos papéis), buscaremos fazer do personagem um instrumento privilegiado para a análise da complementariedade e dos eventuais atritos entre as dimensões narrativa (significação/interpretação), figural (sensação) e material (percepção) do cinema. / This research intends to investigate the tensions and articulations between the narrative and the sensorial in the cinema, having the film character as a guiding thread caught amongst the conventions of the narrative and the immediacy of the sensorial. We will argue that the film character is not only defined and conditioned by its narrative and representational implications (character-person), it is also an important catalyst of affects that stimulate our memory and imagination (characterfigure), and more substantially, an effect generated by concrete elements that often manifest themselves in terms of performativity and plasticity (character-presence). By reformulating the notion of character as \"character effect\" and exploring possible disjunctions between body, actor, and character (especially in films in which several actors play the same role, or on the contrary, the same actor plays several roles), we will advance the character as a privileged instrument for the analysis of the frictions and the complementarity of the narrative (signification/interpretation), the figural (sensation), and the material (perception) dimensions of the cinema.

A Educação a Distância tem crescido de forma muito expressiva nos últimos anos. Com esse crescimento, a preocupação com a qualidade em cursos ofertados nessa modalidade tem aumentado. Para nortear gestores sobre o que é qualidade nessa modalidade de ensino, referenciais de qualidade foram criados pelo Ministério da Educação, objetivando orientá-los na concepção e na condução dos seus cursos. Um dos fatores abordado nesse referencial de qualidade se trata de que o estudante deve ser o centro do processo educacional, no qual os cursos devem prever vias efetivas de comunicação para que o estudante não se sinta isolado e consequentemente venha a abandoná-lo, diminuindo os índices de retenção dos estudantes e aumentando os índices de evasão. Portanto, o tema presença social, que é a forma com que o estudante se sente pertencente ao seu curso, contribui para o aumento da qualidade do mesmo. Diante disso, foi realizado um levantamento bibliográfico sobre o tema e seus benefícios para essa modalidade de ensino. Também foram apresentadas estratégias que podem ser utilizadas para fomentar a presença social, no que tange o ambiente virtual de aprendizagem quanto aos professores/tutores e estudantes. Porém, para que a presença social seja detectada é necessário que se tenha um instrumento válido e confiável. Diante disso, foram pesquisados instrumentos existentes que pudessem contribuir para atingir o objetivo desta pesquisa. Na pesquisa foi encontrado um instrumento validado num contexto educacional que se mostrou importante para esta pesquisa. Esse instrumento, para ser validado no contexto em que a pesquisa foi realizada, passou por tradução, consulta a especialistas e pré-teste, antes da sua aplicação. Posteriormente, o instrumento foi aplicado para estudantes de um curso de graduação de uma Instituição de Ensino Superior particular e para seus professores/tutores. Para verificar a confiabilidade do construto, foi utilizado o alfa de Cronbach e para a validade do construto foi utilizada a análise fatorial. As análises dos dados mostraram que o instrumento, resultado desta pesquisa, é confiável e válido, podendo contribuir efetivamente para mensurar presença social em cursos de graduação a distância e contribuir com estratégias para melhorar ações nos cursos. / Distance education has increased quite significantly in recent years and this growth has in turn heightened concern about the quality of courses offered in this mode. To guide course managers on what is quality in this type of education, quality guidelines were created by Brazils Ministry of Education in order to guide them in the design and conduction of their courses. One of the factors discussed in this quality referential regards that the student should be the center of the educational process. This means that the courses should provide effective means of communication so that the student does not feel isolated and as a result abandon the course, thereby decreasing students retention rates and increasing dropout rates. Therefore, the theme social presence, which is the way for a student to feel he belongs to his course, contributes to increasing the quality of the course. Therefore, a literature review was conducted on the subject and its benefits to this type of education. Additionally, strategies that can be used to foster social presence were presented both in terms of the virtual learning environment as well as teachers/tutors and students. However, for social presence to be detected it is necessary to have a valid and reliable instrument. Therefore, the existing instruments that could help achieve the goal of this research were investigated and an instrument validated in an educational context was found, which was vital for this research. For this instrument to be validated in the context in which the research was conducted, prior to its application, it was translated and experts were consulted and pre-test were performed. The instrument was then administered to undergraduate students in a private Higher Education Institution as well as to their teachers/tutors. Cronbach\'s alpha was used to verify the construct reliability and the factor analysis was used to verify the construct validity. The data analysis showed that the instrument, the result of this research, is reliable and valid and can effectively contribute to measure social presence in undergraduate distance courses as well as contribute with strategies to improve course activities.

Diante da realidade desmotivadora das relações e estruturas de funcionamento na escola pública de São Paulo, muitos profissionais da educação sucumbem ao desânimo e à ausência de significado das suas práticas, prejudicando seu desempenho ou adoecendo de tal maneira a ponto de, em alguns casos, terem que abandonar por completo a prática pedagógica. As ações preventivas ou de combate ao chamado "mal-estar docente" têm se mostrado pouco eficazes por serem construídas sobre moldes às vezes desconectados dos princípios, necessidades ou qualidades individuais do professorado. Essa situação alarmante tem contribuído para uma crescente desvalorização da figura do professor. Com base em uma bibliografia que investiga questões relevantes para a compreensão das condições externas e internas do indivíduo educador, este trabalho realizou a observação de um grupo de docentes que encontrou mecanismos individuais para a sustentação de uma disponibilidade viva diante das imposições típicas do universo educacional. Entre as ações empreendidas por eles está o ato de reservar para si mesmos espaços cotidianos coerentes com aspectos internos de potência pessoal, o que lhes possibilita a manutenção de um estado de aprendizado permanente e de ação criadora por meio da presença íntegra. Para dialogar com estas pessoas e suas paisagens utilizei, como ponto de partida, meus próprios recursos de ordenação interna e criação, inspirados basicamente por tecidos coloridos, narrativas de vida e de tradição oral e reflexões em contato com as dunas da praia do Araçá, em Ilha Comprida. Esta pesquisa foi realizada com o objetivo de revelar um retrato pouco conhecido dos professores e, a partir do registro da presença e das soluções encontradas por um grupo, estimular a renovação do olhar dos profissionais da educação sobre si mesmos e o seu trabalho. / In face of the depressive reality on São Paulo's public school relations and operating structures, many education professionals succumb to the discouragement and absence meaning of their practices, causing damages to their performance, or getting so ill that, in some cases, they must to completely abandon pedagogical practices. Preventive actions to combat so-called "teacher's malaise" have been ineffective because of it's building on disconnected molds from the teaching staff principles, needs or individual qualities. This alarming situation has contributed to a growing teacher's figure devaluation. Based on a bibliography that investigates relevant questions to understanding educator's external and internal conditions, this work has done an observation of a group that found individual mechanisms to support a living availability before the typical educational universe's impositions. Amongst their actions is to reserve for themselves coherent to internal aspects of personal power daily spaces, which enables them to maintain a permanent learning and creative action state through integrity presence. In order to dialogue with these people and their landscapes, I used, as a starting point, my own internal ordering and creation resources, basically inspired on colored tissues, life and oral traditional narratives and reflections in contact with the Araçá's beach dunes, in Ilha Comprida. This research was carried out with the objective of revealing a little known educator's picture, by recording a group presence and their found solutions, to stimulate the renewal viwe of school teachers about themselves and their work.

Adotando a perspectiva da teoria Semiótica, desenvolvida por A.J.Greimas e seus colaboradores, e a Análise do Discurso (AD), apresentada por Dominique Maingueneau, ambas de linha francesa, esta pesquisa tem como objetivo descrever a imagem do enunciatário (páthos) do gênero anúncio publicitário de lingerie. Temos por objetivo descrever os mecanismos de construção de sentido que resultam no feixe de expectativas, ideais e aspirações representadas pelo leitor: público-alvo dos anúncios. Ao trabalharmos com publicidade, devemos ter em mente que é ela é uma esfera de circulação que visa persuadir, ao associar o produto que vende a um corpo em movimento. A publicidade, ao construir um modo particular de presença no mundo, possui um estilo próprio de vida, e encontra-se inserida em uma formação ideológica, cultural e social determinada. E aliadas às transformações sociais pelas quais o gênero contemplado tem evoluído ao longo do tempo, em conformidade com os avanços e transformações de seu público-alvo, procuraremos entender, dessa forma, como e por que a imagem do enunciatário é marcada historicamente no discurso. A publicidade busca \"encarnar\", pela enunciação, o enunciatário que ela evoca, ou seja, ela o torna sensível e perceptível no texto. Reconstruiremos, assim, as diferentes imagens do enunciatário dos anúncios de lingerie, aos quais consideraremos como um desdobramento do sujeito da enunciação. Nesta pesquisa, partimos da idéia de que o enunciatário produz o texto com o enunciador, pois, na produção textual, o enunciador faz o seu texto sob o simulacro do seu enunciatário; o que resulta nas diferentes escolhas enunciativas. Respaldados por esta idéia, poderemos afirmar que o sujeito da enunciação é constituído pelo enunciador (eu / autor) e pelo enunciatário (tu / leitor). Dentro do discurso publicitário, analisaremos, especificamente, o gênero anúncio publicitário de lingerie. A escolha desse gênero deve-se à grande influência que ele exerce nas relações intersubjetivas. De uma grande totalidade, anúncio publicitário de lingerie, depreenderemos quatro totalidades, ao que remeteremos a quatro pólos com especificidades e recorrências características: A; B; NÃO-A; NÃO-B. E dessa forma, nos será possível traçar um modo de presença particular das diferentes imagens de enunciatários do gênero em pauta. Os modos de presença das quatro totalidades analisadas serão depreendidos a partir dos tipos de valorização que cada anúncio investe na apresentação de seu objeto. Trata-se, por exemplo, de valores de prazer sexual, de prazer estético, de valores estésicos ou utilitários. O objeto anunciado não é apresentado apenas como desejável em si mesmo, ou seja, ele não é o termo final de um programa de busca orientado para o puro e simples consumo dos bens oferecidos. Ele é também um meio, uma competência, para que seja alcançado o objeto de valor desejado. A valorização dos anúncios e dos produtos anunciados passa pela encenação e pelo simulacro de determinados tipos de relações que se procuram estabelecer com o público, com o consumidor, ou seja, com o enunciatário. De modo mais específico, são os mecanismos de significação e produção de sentido dessas relações que gostaríamos de analisar nesta dissertação. / Considering the perspective not only of the Semiotics theory developed by A. J. Greimas and his collaborators but also of the Discourse Analysis (DA) shown by Dominique Maingueneau, both related to the French studies, this work has the aim at describing the image of the enunciatee (páthos) of the textual genre lingerie advertisement. The objective is to examine and describe the meaning effects mechanisms that emerge from the text/discourse that result in certain expectations, ideals and aspirations represented by the reader: target public of lingerie advertising. It is considered that publicity belongs to a circulation sphere that tends to persuade by associating the product to be announced (sold) to a \"body\" in movement: this should be kept in mind when an analysis is performed. Therefore, the publicity, by constructing a particular way of presence in the world, has an own style of life, and, in this way, is engaged in a determined ideological, cultural and social formation. Taking into consideration the social evolution in which the genre lingerie advertisement has involved and, in conformity with the advances and transformations of the target public, the analysis is to understand how and why the image of the enunciatee is marked diachronically and historically in the discourse. By means of enunciation, the publicity seeks to \"incarnate\" the enunciatee that evokes, making such enunciatee sensible and perceptible in the text. In this way, the purpose is to reconstruct the different images of the enunciatee in the lingerie advertisements, because the enunciatees are taken as an extension of the subject of the enunciation. Therefore, it is considered that the enunciatee produces the text together with the enunciator since, in the textual production, the latter produces his text under the simulacrum of the former, generating, in this way, different choices of enunciation. Based on this idea, it can be affirmed that the subject of enunciation is constructed by the enunciator (I / author) and by the enunciatee (you / reader). Specifically, it is analyzed, of the publicity discourse, the textual genre lingerie advertisement. The choice for this genre was taken due to the great influence it performs when an inter-subjectivity relation is involved. From the great totality lingerie advertisements, four totalities are captured that resulted in four poles with inherent peculiarities and specific recurrences: A; B; NON-A; NON-B. In this way, it is possible to trace a particular way of presence of the distinct enunciatees images in this textual genre. The way of presence of the four analyzed totalities can be observed considering two types of valuation that each advertisement invests in the object presentation. It is regarded, for example, the valuation of the sexual, esthetic or utilitarian pleasure. The announced object is not presented simply as desirable itself. In other words, the offered object is not the final term of the search program orientated for the pure and simple consumption: the object is also a way, a competence for the desired object can be achieved. The valuation of the advertisements and announced products circulates through simulation and simulacrum of determined types of relations that are sought to established with the public consumer: the enunciatee. In a more specific way, the references are to the production and meaning mechanisms of these relations that are intended to analyze in this work.