CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Esta pesquisa tem como objetivo investigar os critÃrios que balizam o fenÃmeno da emergÃncia de gÃneros discursivos que se manifestam nas redes sociais, mais especificamente no Facebook, tomando como base o suporte digital e as mesclas genÃricas que constituem as prÃticas de linguagem na web. Nossa investigaÃÃo à conduzida por uma concepÃÃo de linguagem de base epistemolÃgica bakhtiniana (BAKHTIN, 1929) e por uma perspectiva sociorretÃrica de gÃneros (MILLER, 1984; 1994; BAZERMAN, 2005). AlÃm disso, em busca de um conceito de emergÃncia, apoiamo-nos na perspectiva da Teoria da Complexidade, que dà guarida aos Sistemas Adaptativos Complexos (LARSEN-FREEMAN, 2008). Para alcanÃar o objetivo, tivemos dois momentos metodolÃgicos: no primeiro, selecionamos 331 postagens no mural de notÃcias do Facebook atualizadas no perÃodo de abril de 2011 a dezembro de 2012, cujos critÃrios bÃsicos eram o de que tivessem pelo menos 100 compartilhamentos e 100 curtiÃÃes. No segundo, extraÃmos uma amostra desse corpus, dividimo-la em oito questionÃrios desenvolvidos na ferramenta Google Docs, cada um com pelo menos trÃs postagens, e os divulgamos no Facebook pelo perÃodo de dois meses, para que os usuÃrios da rede espalhados pelas cinco regiÃes do Brasil nos dessem suas impressÃes sobre os gÃneros que ali ganham morada. Ao fim, tivemos 575 sujeitos, cujas respostas nos ajudaram a mapear as caracterÃsticas de oito gÃneros discursivos em emergÃncia no Facebook e, com base nelas, propor seis critÃrios para definir a emergÃncia como um estÃgio por que passa um gÃnero em direÃÃo à estandardizaÃÃo, estÃgio este que denota, de um lado, certa recorrÃncia de padrÃes jà reconhecidos, aceitos e praticados socialmente e, de outro, elementos amorfos, em processo de moldagem e de tipificaÃÃo pela comunidade: o processo de remix, o acabamento, os links, a rÃpida saturaÃÃo, a falta de consenso sobre o nome e a falta de consenso sobre os propÃsitos dos gÃneros. / This research aims at investigating criteria which mark the emergence of discourse genres phenomenon present in social network, especially on Facebook. Such genres take place in digital support, as well as in their generic blends that constitute language practices on the web. This study is led by a Bakhtinian language conception (BAKHTIN, 1929) and a social rhetoric genre perspective (MILLER, 1984; 1994; BAZERMAN, 2005). Besides, in search for a concept of emergence, this investigation was based on the Complexity Theory which supports the Complex Adaptive System (LARSEN-FREEMAN, 2008). In order to achieve its aim, this research was divided into two methodological parts: firstly, we selected 331 updated posts out of Facebook news feed from April 2011 to December 2012, which standard criteria were laid on the fact that these latter presented 100 shares and 100 likes. Secondly, we took a sample out of this corpus, divided it into eight questionnaires developed in to the Google Docs tool, each one carrying, at least, three posts. After that, we posted these same posts on Facebook for two months, so that the network users throughout the five regions of Brazil could post their opinion over the genres therein presented. At last, this study found 575 usersâ answers to be helpful to map eight discourse genres characteristics under emergence on Facebook. Based on these latter ones, we propose six criteria to define emergence as a stage through which a genre pass toward standardization. Such a stage denotes, on one hand, a type of recurrence of recognized, accepted and socially practiced standards. On the other hand, this same stage denotes amorphous elements, under its modeling and recognition process by the community: the remix process, finishing, links, rapid saturation, lack of consent over the name and genres proposes.

Cette thèse porte sur l’implication du remix dans la création plastique à l’ère de la dématérialisation numérique. Beaucoup d’éléments comme la technicité du médium, la malléabilité des contenus, la banalisation de la transgression du droit d’auteur ou la mise à disposition sans précédent de matériaux, impactent directement la création. Tout ceci donne lieu à de multiples stratégies de création par, pour, avec ou hors Internet. Les œuvres sont ouvertes, processuelles, interactives. L’art numérique est foisonnant et le remix y occupe une place de choix. C’est donc dans la longue histoire du remix artistique et dans celle inédite de la création numérique que j’ai choisi d’inscrire une recherche création. Artiste depuis plus de dix ans, j’ai eu à articuler une « recherche > création » (« sur l’art » et sur mes œuvres passées) et une « création > recherche » (sur mes œuvres en train de se faire). Lors de la « recherche > création », l’hypothèse de la filiation de mon travail avec le remix numérique m’a conduit à saisir, d’un point de vue théorique, les termes de la rencontre fructueuse du remix avec l’art numérique, puis à faire une analyse de sept de mes œuvres passées. Elle a souligné la portée critique et la diversité de mes remix et de leurs dominantes : la mise en jeu du droit d’auteur ; le rapport au temps et à l’interactivité ; la critique de l’abondance informationnelle ; et la collection, intention et principe de création. Cette « recherche > création » n’a pris tout son sens qu’avec la création de trois nouvelles œuvres lors de la « création > recherche ». La poursuite de mon hypothèse m’a invité à mettre en jeu la définition couramment admise du remix réflexif, notamment sa portée référentielle. Mes dernières œuvres sont nées de cette rupture et d’une intention non plus critique, mais expérimentale. Elles m’ont permis de distinguer un « remix distancié » qui va plus loin que le remix réflexif dans le sens d’une complète dissolution de l’original qui lui a donné vie. / The focus in this thesis is on the implications of remix in the art field within the digital dematerialisation era. Many elements like the technicality of the medium, the malleability of the contents, the banalisation of copyright infringement or the unprecedented availability of materials impact creation directly. All this has given birth to multiple creation strategies by, for, with or out of the Internet. Artworks are open, processual, interactive. Digital art is a flourishing movement and remix occupies a key place within. It is thus in the long history of artistic remix and the new emerging history of digital creation that I chose to enrol in a research creation. As an artist for more than ten years, I have had to articulate a ‘research > creation’ (‘on art’ and my past artworks) and a ‘creation > research’ (on my artworks in progress). During the period of ‘research > creation’, the assumption of the filiation of my work to digital remix led me to examine, from a theoretical point of view, the terms of the fruitful encounter between remix and digital art and then to apply the analysis to seven of my previous artworks. This brought to light the critical range and the diversity of my own remix and their dominance: the liability of the copyright; the relationship to time and interactivity; the criticism of informational abundance; and the collection as an intention and a principle of creation. This ‘research > creation’ has been ‘rendered real’ with the creation of three new artworks during the ‘creation > research’. The exploration of my hypothesis led me to jeopardise the generally accepted definition of reflexive remix, in particular its referential range. My latest artworks were born from this disruption and of an intention which was no longer critical, but experimental. These artworks enabled me to distinguish a ‘outpaced remix’ which goes beyond reflexive remix in the direction of a complete dissolution of the original from which each one derived.

What is a genre and what elements decide a genre? Is it possible to change the characteristics of one genre and thereby evolve a track into a new one? How much of a genre lies in the production and how much lies in the composition? These are some questions that I have explored and investigated in my thesis. I have been particularly interested in whether, and if so how, I could make tracks in their original genres into my own through remixes. Based on previous research on music psychology and theory of genres I develop a framework to position my work. The production process has been based on a directionless instinct to truly unveil a personal sound. By creating three different remixes from three different tracks I manage to change some of the key concepts and evolve the original tracks to something different, eventually changing the genre itself. Through this investigation of transforming these three tracks from their original genre into another one that is more in line with my musical identity, I explore the limitation of the concept “genre”. / <p>Till dokumentationen hör även följande inspelningar:</p><p>Aloft Quartet - False Fetch.mp3 <em>- Originallåt</em></p><p>False Fetch (Søfelde Remix).wav <em>- Min remix</em></p><p>Boys and Ivy - Boys We Chased.mp3 <em>- Originallåt</em></p><p>Boys We Chased (Søfelde Remix).wav <em>- Min remix </em></p><p>Pastlife - This is Her.mp3 <em>- Originallåt</em></p><p>This is her (Søfelde Remix).wav <em>- Min remix</em></p>

Esta dissertação intenciona investigar a construção do cômico, mediado pela tecnologia, em vídeos remix publicados na plataforma YouTube. Os trabalhos analisados propõem o riso a partir da manipulação de tempo e pitch do áudio de vídeos virais, possibilitada por softwares como Auto-Tune e Melodyne. Entendemos remix conforme autores como Lev Manovich, Eduardo Navas e Lawrence Lessig, que afirmam que vivemos em uma \"Cultura Remix\", uma época que tem como base cultural o sampling, atividade que consiste na troca inteligente entre fragmentos de diversas mídias. Analisaremos a emergência do riso nesse contexto, a partir de reapropriações de materiais preexistentes na rede. Autores como Henri Bergson e Michail Bakhtin nos fornecem o suporte conceitual para investigarmos o riso como um recurso dramático e da cultura tanto na vida cotidiana quanto nas plataformas digitais, que facilitaram, por um lado, o acesso e reciclagem de \"detritos midiáticos\", e, por outro, potencializaram as possibilidades de manipulação desses materiais / This dissertation intends to investigate the construction of the comic, mediated by technology, in video remix published on the YouTube platform. The analyzed works propose the laughter from the manipulation of time and pitch of the audio of viral videos, made possible by softwares like Auto-Tune and Melodyne. We understand remix by authors such as Lev Manovich, Eduardo Navas and Lawrence Lessig, who claim that we live in a \"Culture Remix\", an era that is based on cultural sampling, an activity that consists of the intelligent exchange between fragments of various media. We will analyze the emergence of laughter in this context, from re-appropriation of pre-existing materials in the network. Authors such as Henri Bergson and Michail Bakhtin provide us with conceptual support for investigating laughter as a dramatic and cultural resource in everyday life as well as on digital platforms that facilitated access to and recycling of \"media debris\" on the one hand, and , on the other, potentialized the possibilities of manipulation of these materials.

Esta dissertação intenciona investigar a construção do cômico, mediado pela tecnologia, em vídeos remix publicados na plataforma YouTube. Os trabalhos analisados propõem o riso a partir da manipulação de tempo e pitch do áudio de vídeos virais, possibilitada por softwares como Auto-Tune e Melodyne. Entendemos remix conforme autores como Lev Manovich, Eduardo Navas e Lawrence Lessig, que afirmam que vivemos em uma \"Cultura Remix\", uma época que tem como base cultural o sampling, atividade que consiste na troca inteligente entre fragmentos de diversas mídias. Analisaremos a emergência do riso nesse contexto, a partir de reapropriações de materiais preexistentes na rede. Autores como Henri Bergson e Michail Bakhtin nos fornecem o suporte conceitual para investigarmos o riso como um recurso dramático e da cultura tanto na vida cotidiana quanto nas plataformas digitais, que facilitaram, por um lado, o acesso e reciclagem de \"detritos midiáticos\", e, por outro, potencializaram as possibilidades de manipulação desses materiais / This dissertation intends to investigate the construction of the comic, mediated by technology, in video remix published on the YouTube platform. The analyzed works propose the laughter from the manipulation of time and pitch of the audio of viral videos, made possible by softwares like Auto-Tune and Melodyne. We understand remix by authors such as Lev Manovich, Eduardo Navas and Lawrence Lessig, who claim that we live in a \"Culture Remix\", an era that is based on cultural sampling, an activity that consists of the intelligent exchange between fragments of various media. We will analyze the emergence of laughter in this context, from re-appropriation of pre-existing materials in the network. Authors such as Henri Bergson and Michail Bakhtin provide us with conceptual support for investigating laughter as a dramatic and cultural resource in everyday life as well as on digital platforms that facilitated access to and recycling of \"media debris\" on the one hand, and , on the other, potentialized the possibilities of manipulation of these materials.

O objetivo desta dissertação é investigar a relação conceitual entre a Antropofagia e a Cultura do Remix, entender os conflitos no campo do direito autoral provocados pelas práticas de compartilhamento cultural, assim como analisar as políticas culturais desenvolvidas pelo Ministério da Cultura durante o Governo Lula, para adequar a legislação autoral à Cultura Digital. Tendo como ponto de partida o Manifesto Antropofágico de Oswald de Andrade, a pesquisa buscou compreender a metáfora criada pelo poeta brasileiro para investigar como esta foi apropriada ao longo do tempo, chegando ao século 21 no contexto digital. Como os antropófagos, os usuários da internet se apropriam da cultura em processos colaborativos de hibridação cultural. As práticas que surgiram com a digitalização da cultura ocorrem à revelia dos direitos do autor, explodindo a noção de autoria ao transformá-la num território compartilhado entre amadores e profissionais. Tal realidade impacta a forma como a indústria cultural opera, causando uma guerra pelos direitos autorais. Neste conflito, o Estado brasileiro, por meio do Ministério da Cultura, conquista uma posição de destaque internacional ao se lançar o desafio de elaborar, em conjunto com a sociedade, políticas culturais para adaptar as leis autorais à cultura digital. / The goal of this dissertation is to investigate the conceptual relationship between Antropophagy and Remix Culture, to understand the conflicts in the field of copyright caused by cultural sharing practices, as well as to examine cultural policies developed by the Ministry of Culture during the Lula government, to adjust copyright law to digital culture. Taking as its starting point the Manifesto Antropofágico from Oswald de Andrade, the research sought to understand the metaphor created by the Brazilian poet to investigate how this was appropriated from time to time reaching the 21-century, in the digital context. Like the cannibals Internet users grab the culture in collaborative processes of cultural hybridization. The practices that have emerged with the digitization of culture occur despite copyrights, exploding the notion of authorship, turn it into a shared territory between amateurs and professionals. This reality impacts the way the cultural industry operates, causing a war by copyright. In this conflict, the Brazilian government, through the Ministry of Culture, wins a position of international prominence when it launched the challenge to develop, in conjunction with society, cultural policies to adapt copyright laws to digital culture.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A dissertação procura mapear a produção de arte e vídeo que tocam questões relativas à interatividade, às novas tecnologias e à participação do espectador para a construção da obra. Parte da noção de rizoma, onde a obra é colocada em um contexto de rede, que atua se relacionando não somente com seus elementos, mas com toda uma história da produção videográfica / The dissertation seeks to map the production of art and video that touch issues of interactivity, new technology and viewer participation for construction. It shares the notion of rhizome, in which the work is placed in a network context, which operates in a relationship not only with its own elements, but with a whole history of video production

O objetivo desta dissertação é investigar a relação conceitual entre a Antropofagia e a Cultura do Remix, entender os conflitos no campo do direito autoral provocados pelas práticas de compartilhamento cultural, assim como analisar as políticas culturais desenvolvidas pelo Ministério da Cultura durante o Governo Lula, para adequar a legislação autoral à Cultura Digital. Tendo como ponto de partida o Manifesto Antropofágico de Oswald de Andrade, a pesquisa buscou compreender a metáfora criada pelo poeta brasileiro para investigar como esta foi apropriada ao longo do tempo, chegando ao século 21 no contexto digital. Como os antropófagos, os usuários da internet se apropriam da cultura em processos colaborativos de hibridação cultural. As práticas que surgiram com a digitalização da cultura ocorrem à revelia dos direitos do autor, explodindo a noção de autoria ao transformá-la num território compartilhado entre amadores e profissionais. Tal realidade impacta a forma como a indústria cultural opera, causando uma guerra pelos direitos autorais. Neste conflito, o Estado brasileiro, por meio do Ministério da Cultura, conquista uma posição de destaque internacional ao se lançar o desafio de elaborar, em conjunto com a sociedade, políticas culturais para adaptar as leis autorais à cultura digital. / The goal of this dissertation is to investigate the conceptual relationship between Antropophagy and Remix Culture, to understand the conflicts in the field of copyright caused by cultural sharing practices, as well as to examine cultural policies developed by the Ministry of Culture during the Lula government, to adjust copyright law to digital culture. Taking as its starting point the Manifesto Antropofágico from Oswald de Andrade, the research sought to understand the metaphor created by the Brazilian poet to investigate how this was appropriated from time to time reaching the 21-century, in the digital context. Like the cannibals Internet users grab the culture in collaborative processes of cultural hybridization. The practices that have emerged with the digitization of culture occur despite copyrights, exploding the notion of authorship, turn it into a shared territory between amateurs and professionals. This reality impacts the way the cultural industry operates, causing a war by copyright. In this conflict, the Brazilian government, through the Ministry of Culture, wins a position of international prominence when it launched the challenge to develop, in conjunction with society, cultural policies to adapt copyright laws to digital culture.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A dissertação procura mapear a produção de arte e vídeo que tocam questões relativas à interatividade, às novas tecnologias e à participação do espectador para a construção da obra. Parte da noção de rizoma, onde a obra é colocada em um contexto de rede, que atua se relacionando não somente com seus elementos, mas com toda uma história da produção videográfica / The dissertation seeks to map the production of art and video that touch issues of interactivity, new technology and viewer participation for construction. It shares the notion of rhizome, in which the work is placed in a network context, which operates in a relationship not only with its own elements, but with a whole history of video production

In the past, video game communities have been studied after they have already been well-established. Studying the Overwatch fandom now, less than a year after the game’s release, while its community is still growing, allows me to observe the way gamers bring prior fandom experiences to a new game and the way a new fan community establishes its own practices. Moreover, the Overwatch fandom is growing at a time when technology is rapidly changing the way fans share transformative works and the way media companies interact with fans. Studying Overwatch fan communities now can give a sense of what is and is not changing and how it might affect fandom.