Les processus de la mise en scène reposent nécessairement sur une réalité humaine complexe, faite de dialogues et de rapports de force en constante redéfinition. Afin de les théoriser, plusieurs travaux ont institué en corpus les documents produits en cours de réunion ou de répétition, pour leur appliquer les méthodes issues de la génétique des textes. Or le transfert s’avère problématique : vestiges lacunaires, ces supports ne sauraient témoigner à eux seuls de la vie organique et polyphonique de la mise en scène en gestation. Une première solution consiste à opter pour une approche radicalement intermédiale des archives d’un spectacle : dans la mesure où la mise en scène fait interagir plusieurs disciplines artistiques, pourquoi ne pas la penser en confrontant activement les différents media générés lors de son élaboration ? Complémentaire de la première, une seconde proposition suppose que le chercheur s’implique dans une observation in vivo de réunions et de répétitions afin de disposer d’une matière plus complète. À cette clarification épistémologique succède un essai de théorisation des processus de la création scénique. Il apparaît tout d’abord que l’espace de travail est aussi bien un contenant physique de la recherche des artistes qu’un catalyseur : c’est en se l’appropriant à plusieurs qu’un groupe de collaborateurs donne corps à la mise en scène. L’espace de création révèle par là même une dimension polyphonique que l’on retrouve sur le plan du temps : dans la mesure où il engage un ensemble d’artistes, un processus ne possède pas de linéarité chronologique homogène ; il se compose d’une multitude de temporalités propres à chacun des répétants, qu’il s’agit de faire converger pour élaborer un spectacle commun à tous. Les processus de la mise en scène se caractérisent ainsi par leur dimension fondamentalement sociale. Réunie dans un espace-temps donné, la petite société formée autour du metteur obéit à un mode de création dialogique, où les propositions des uns et des autres s’agrègent pour former un discours foisonnant dont la force et l’unité sont garanties par une instance surplombante. / A complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.

This thesis examines contemporary street art and its exhibition in galleries and museums in connection with Walter Benjamin's concepts of aura and authenticity in the postmodern period. Street art is posited as a marginal art evolving out of the tradition of 1970's New York graffiti that can be made to function as a type of anti-spectacle within the spectacle of the mainstream. Situationist theory and concepts within the agenda of Unitary Urbanism (psychogeography, the dérive, and détournement) are used to evaluate contemporary street art as anti-spectacle. Photography, as a primary method of documenting street art, is considered as a mechanically reproduced medium bringing into play discourses of repetition and originality, which are in turn related back to Benjamin's concepts of aura and authenticity. Andy Warhol, his Pop Art iconography, and practice of seriality are also considered as an influence on contemporary street art's imagery and underlying practice. Warhol's promotion of an "art star" persona is also related to such contemporary street art "stars" as Banksy and Mr. Brainwash.

Cette thèse s'attache à analyser les ballets et les opéras exotiques représentés sur la scène du Teatro alla Scala, de la création du théâtre, en 1778, à sa réouverture, en 1946, période au cours de laquelle plus de trois cents œuvres mettant en scène l'ailleurs non européen et ses habitants furent données à voir au public du plus prestigieux théâtre lyrique milanais. L'approche des représentations de l'autre non européen, retenue ici, accorde une très large place aux livrets, en même temps qu'elle s'articule à la réception des œuvres dans la presse, afin de pouvoir saisir un sens public de ces représentations. Après avoir, dans un premier temps, dressé un panorama des lieux et des thèmes exotiques mis en scène, où dominent un Orient tout à la fois polymorphe et placé sous le signe de la répétition, ainsi que les mises en scène de la découverte et de la conquête du continent américain, cette recherche aborde la question de la création, librettistique et scénique, d'une altérité non européenne, qui apparaît désirée autant qu'elle est moquée et critiquée. Enfin, dans un troisième temps, cette étude tente de mettre au jour les usages politiques des œuvres exotiques, que celles-ci soient utilisées pour contester le pouvoir en place ou qu'au contraire ce dernier fasse d'elles des véhicules idéologiques. / This thesis analyses the exotic operas and ballets staged at the Teatro alla Scala from its inauguration in 1778 to its reopening in 1946 – a period during which the audiences of Milan's most prestigious opera house were offered more than three hundred productions representing non-European countries and their inhabitants. My approach integrates close readings of the librettos with a focus on the reception of these works in the press, in order to understand how these representations made sense to the public. The first part presents an overview of the exotic places and themes that were staged. A polymorphous but repetitive Orient and the discovery and conquest of the New World predominate. The second part focuses on the librettos and staging in order to address the construction of a non-European alterity that is desired as much as it is denigrated. Finally, the third part brings to light the political usages of these exotic works, asking whether they served to avoid censorship and contest the authorities or, on the contrary, functioned as vehicles for the ideology of the regimes of their time.

Cette thèse propose une réflexion sur la relation entre scène et salle se tissant à travers l’écoute. Dépassant le modèle activité/passivité auquel pourrait être rattachée l’expérience sonore du spectateur, nous tenterons de cerner les contours de cette relation où l’un émet tandis que l’autre reçoit, mais aussi répond. Le pouvoir semble du côté de la scène, capable de forcer l’écoute du spectateur, d’écraser toute réaction, tandis que le désir serait l’enjeu même de cette relation asymétrique, et circulerait de part et d’autre. Associant la notion d’auralité, qui englobe en un seul terme l’écoute et l’audition, à celle d’oralité, acte d’émettre une parole à l’intention d’un auditeur, la notion d’inter[o]ralité, fusionne les deux pôles, émission et réception, et les deux organes, bouche et oreille. Elle cherche à cerner la dimension intersubjective de la relation d’écoute liant la scène à la salle : si celle-ci prend modèle sur la situation d’énonciation, elle ne se réduit pas à l’écoute muette d’une parole ; elle est jeu d’adresse, intention d’attention.Cette réflexion, mûrie au fil d’une expérience de spectatrice, nourrie de la mémoire, souvent fragmentaire, de spectacles, se fonde sur un corpus d’oeuvres vues et entendues entre 2004 et 2017, créées par des artistes de la scène européenne tels que Joël Pommerat, Romeo Castellucci, Maguy Marin, Vincent Macaigne, Gisèle Vienne, Rimini Protokoll, dont le rapport au sonore est remarquable ou parlant du fait de la relation qu’il engendre avec le spectateur. Aussi cette réflexion invite-t-elle à une appréhension plus large de l’écoute : non seulement comme réception du sonore et de ce qu’il y a à entendre, mais comme réponse à une proposition émise à l’attention d’un autre, attention à cette attention elle-même, à laquelle ce dernier est libre, à tout moment, de se dérober. / This thesis explores the relationship between stage and audience as it arises in listening. Going beyond the activity/passivity paradigm that could be used to describe the audience’s sonic experience, we will try to draw the contours of a relationship in which the one produces while the other not only receives, but also responds. Power seems to belong to the stage in order to enforce listening on the part of the spectator and to prevent any reaction, while desire appears to be circulating back and forth as the purpose of this asymmetrical relationship. Conflating the notion of aurality, which gathers “listening” and “hearing”, and the notion of orality, which is the act of producing speech for a listener, the notion of inter[o]rality combines the two sides, production and reception, and the two organs, mouth and ears. It aims at capturing the intersubjective dimension of the listening relationship between stage and audience : even if it is modeled on the paradigm of enunciation, it is not limited to the mute listening of what is being said ; it is a game of addressing, an intention of attentiveness. This reflection, which has matured along with my experience as a spectator and which relies on the often incomplete memory of the shows I have seen, is based on a corpus of works that I watched and heard between 2004 and 2017. They were produced by European stage directors and artists such as Joël Pommerat, Romeo Castellucci, Maguy Marin, Vincent Macaigne, Gisèle Vienne, or Rimini Protokoll, whose connection to sound is remarkable or significant because of the relationship it creates with the spectator. In this way, this reflection encourages a wider approach to listening, considered not only as the reception of sound and of what is to be heard, but also as a response to what is offered to the attention of an other, and as an attentiveness to this attention itself, which the other is free, at any moment, to relinquish.

O objetivo desta dissertação é o entendimento da arquitetura do espetáculo e sua relação com os questionamentos artísticos que vêm se manifestando desde a década de 1920. O cenário recente aponta para a reconquista da cidade como território das manifestações artísticas, como lugar do espetáculo. Após discutir questões nocionais e metodológicas para o estudo do tema, analisamos O Lugar do Espetáculo, apresentado como uma reflexão sobre os meios utilizados para que tais manifestações cumpram seu papel transformador. A Metrópole em Cena apresenta os desdobramentos, desde a década de 1950, por inúmeras manifestações artísticas de caráter urbano em que a cidade não é apenas cenário, mas é também argumento, roteiro e personagem. Para tanto, o trabalho investiga as noções e as manifestações da arquitetura do espetáculo nesse período e estabelece, em particular, um paralelo com obras produzidas por mestres como Walter Gropius, Eric Mendelsohn, Mies van der Rohe, Rino Levi, Lina Bo Bardi e Paulo Mendes da Rocha. Tendo os centros urbanos como território, em especial a região central da cidade de São Paulo, foram também estudadas estratégias e metodologias de projeto aplicadas à arquitetura do espetáculo e as recentes intervenções em seu patrimônio construído. O fio condutor de nossa pesquisa é a identificação dos valores essenciais da arquitetura do espetáculo que têm inspirado tanto arquitetos quanto encenadores e pensadores teatrais. / The objective of this dissertation is to understand the architecture of the spectacle and its relation to artistic questions which have been posed since the 1920s. The recent scenario points to reconquering the city as territory for artistic manifestations, as the place of the spectacle. After discussing notional and methodological questions to study the theme, we analyze The Place of the Spectacle which is presented as a reflection about the means used so that such manifestations can perform their transforming role. The Metropolis in Scene describes the developments, since the 1950s, through several artistic manifestations of urban nature in which the city is not only scenario, but also argument, script and character. Therefore, this dissertation investigates the notions and manifestations of the architecture of the spectacle in this period and draws, particularly, a parallel to works produced by masters such as Walter Gropius, Eric Mendelsohn, Mies van der Rohe, Rino Levi, Lina Bo Bardi and Paulo Mendes da Rocha. Having urban centers as territory, specially São Paulo\'s city downtown area, project strategies and methodologies applied to the architecture of the spectacle as well as recent interventions in its built heritage are studied. The line of reasoning of our research is to identify essential values of the architecture of the spectacle which has been inspiring both architects, directors and theatrical thinkers.

Os Centros Educacionais Unificados (CEUs) estão localizados em regiões carentes de infraestrutura e de serviços. Os CEUs, situados em diferentes pontos do município de São Paulo, foram implantados no ano de 2003 e estão comprometidos com a proposição e execução de políticas públicas destinadas a atender demandas educacionais, culturais e esportivas. O projeto do CEU prevê uma gestão compartilhada a ser realizada por diversas instâncias. A proposta de uma gestão conduzida a partir da interação entre distintas partes permite refletir sobre a possibilidade de hibridação entre órgãos públicos e sociedade civil. O CEU deveria ser reconhecido como espaço polifônico que privilegia a produção de conhecimento e o protagonismo dos indivíduos; nele os cidadãos devem agir coletivamente, desenhando uma gestão orientada por processos democráticos. Esta pesquisa destina-se a compreender a proposta de gestão dos CEUs e, especialmente, observá-la em terreno prático. Para compreender a complexidade dessa proposta, faz-se um investimento de estudos na gestão cultural do CEU. Esse estudo se direciona rumo a esta empreitada a partir de um mapa conceitual destinado a tratar de questões referentes ao escopo da cultura, somado à análise das diretrizes que orientam o projeto que deu origem ao CEU e à reflexão crítica associada às ideias do sociólogo francês Guy Debord sobre a experiência prática que pode ser acompanhada dentro do setor de cultura que compõe o dispositivo. A gestão do CEU pode ser um primeiro passo para outros mais complexos que extrapolam os limites do dispositivo; no entanto, verifica-se uma série de entraves que adiam essa possibilidade / The Unified Educational Centers (CEUs) are located in regions damaged by lack of access to different services. The CEUs are located at different places in São Paulo. They were established in 2003 and they have been committed to the proposition and execution of public policies to attend educational, cultural and sporting demands. The design provides a shared manager to be held jointly by several instances managed. The proposed management conducted from the interaction betwee different parts may allows us to refer it as a possible possibility of hybridization between social spheres, public agencies and the society. The CEU should be recognized as a polyphonic space that emphasizes learning. There citizens should act collectively drawing a management guided by democratic processes. This research aims to understand the CEU\'s management that have been proposed looking at the practical views. To understand the complexity of this proposal we have to return our gaze to one of the instances that participate on it. That is, in trying to understand the management of the structure, we will invest our studies in cultural management of CEU. This study throws himself towards this endeavor from a conceptual map designed to address issues relating to the scope of culture, coupled with analysis of guidelines that guide the project that gave rise to the CEU, and critical reflection associated with the ideas of sociologist Guy Debord on the practical experience that could be followed within the culture that belongs to the device industry. We conclude that the management of CEU may be a first step to more complex ones that go beyond the limits of the structure and at the same time, we found a number of barriers that delay that possibility

Esta pesquisa tem o objetivo de abordar uma questão específica da subjetividade na época hipermoderna: a relação de fascínio de um grupo de adolescentes com o site de relacionamentos online Orkut, tendo como pano de fundo a contemporaneidade e os valores da cultura narcísica e da cultura do espetáculo que a sustentam. Para tanto, discorre sobre três aspectos que se inter-relacionam: o contexto da hipermodernidade líquida e digital; as peculiaridades do Orkut e as características psíquicas dos adolescentes. A conjunção desses fatores explica o fascínio, de ordem subjetiva, como uma construção social. Essa análise tem um viés psicossocial, respaldado em autores tais como Zygmunt Bauman, Gilles Lipovetsky, Christopher Lasch e Guy Debord, que interseccionam idéias do campo da Sociologia com conceitos da Psicanálise. Esse quadro teórico desenhou-se a partir de um estudo realizado em duas etapas: a primeira de cunho quantitativo, envolveu 473 adolescentes e pré-adolescentes de uma escola da periferia de São Paulo, com vistas a identificar os usos do computador e da Internet. Nessa amostra, constatou-se que 72 % dos participantes não tinham computador em suas residências, entretanto esta carência não representou impedimento no acesso ao uso, porque 87% utilizavam a máquina em diferentes espaços. Contudo, a escola foi a menos citada e o Orkut um dos usos recorrentes. Para investigar, então, o uso desse site, realizou-se entrevistas semi-estruturadas, com um grupo de 10 adolescentes participantes da primeira etapa. A análise das entrevistas permitiu caracterizar o Orkut como um palco no qual podem ser pseudo-realizados os ideais da sociedade narcísica. Por isso é fascinante, captura o desejo do sujeito. É um espaço virtual em que o adolescente pode \'sair\' momentaneamente de um estado de insatisfação, conflito e ruptura, para um lugar onde pode estar, ter e (a)parecer. Dessa forma, a idealização costura a relação de fascínio pelo Orkut, atrelada às possibilidades de socialização. Verificou-se que os adolescentes buscam responder aos apelos dessa hipermodernidade, mas não deixam de ter prazer em suas atividades corriqueiras do mundo jovem. Culto à aparência, ao hedonismo, à glamourização da auto-imagem, reconhecimento social, fama, popularidade, amizade, vício são temas discutidos neste trabalho e coexistem no Orkut com o interesse de comunicação, reafirmando que, mesmo incentivado o hiper-individualismo e a criação de narcisos digitais, somos seres sociais. / This research aims to address a specific issue of subjectivity in the hipermodern era: the fascination of a group of teenagers with the site of online relationships Orkut, the background of the present and the values of culture and the culture of narcissist spectacle that gives the support. To this end, we talk about three things that are inter-related: the context of hipermodernidade net and digital; the peculiarities of Orkut and the psychological characteristics of adolescents. The combination of these factors explains the fascination of subjective order as a social construction. This analysis has a psychosocial bias, based in authors such as Zygmunt Bauman, Gilles Lipovetsky, Chistopher Lasch and Guy Debord, who explore ideas in the field of sociology with concepts of psychoanalysis. This theoretical framework is developed from a study conducted in two stages: the first is quantitative, involving 473 adolescents and preadolescents of the poor suburb of an school in Sao Paulo, with the objective of identifying the uses of the computer and the Internet. In this sample, it was found that 72% of participants had no computer in their homes, however this lack of access was not impediment to the use, because 87% use the machine in different spaces. However, the school was the least commented and the Orkut one of the most applicant uses. In order to investigate, then, the use of this site, took place semi-structured interviews with a group of 10 teenagers participants of the first stage. The analysis of the interviews allowed to characterize Orkut as a local in which can be pseudo-realized the ideals of a narcissist society. So it is fascinating, capturing the desire of the subject. It is a virtual space where adolescents can \'exit\' momentarily from a state of dissatisfaction, conflict and disruption, to a place where you can be, show yourself. Thus, the idealization build the fascination for the relationship of Orkut provides,linked to the possibilities of socialization. It was found that teenagers try to respond to the calls of hipermodernity , but they still have pleasure in their usual activities in the world. Worship the appearance, the hedonism, glamourization of self-image, social recognition, fame, popularity, friendship, addictions , are topics discussed in this paper and in the Orkut coexist with the interest of communication, reaffirming that even encouraged the hyper-individualism and creation narcisos of digital era, we are social beings.

O presente trabalho tem por objetivo estudar o ecoturismo. Buscou-se averiguar a existência de uma preocupação com a educação ambiental (e quais os princípios que a regem) nas atividades e pacotes ecoturísticos comercializados pelo mercado. Para atingir tal objetivo, procurou-se conhecer o termo ecoturismo a partir das perspectivas da cultura de consumo e da sociedade do espetáculo e sob tal enfoque discutir suas relações com temas como turismo e consumo, natureza e educação ambiental; buscou-se também identificar as bases filosóficas do trabalho ecoturístico (particularmente em sua relação com a questão da educação ambiental) desenvolvido pelas operadoras de tais atividades; e por fim, realizar crítica conceitual acerca das relações entre os assuntos abordados pela dissertação. Foram entrevistadas 03 operadoras do mercado ecoturístico e 03 pesquisadores de áreas relacionadas aos temas propostos. O texto da dissertação foi produzido a partir das informações obtidas por levantamento bibliográfico em diálogo com as opiniões obtidas nas entrevistas no trabalho de campo. Concluiu-se que o ecoturismo como atividade de mercado é pouco utilizado para a disseminação da consciência ambientalista por conta das operadoras terem uma visão da educação ambiental que a aproxima da educação formal e que tal característica não deve ser integrada às atividades turísticas momentos de diversão e lazer; constatou-se também que o ecoturismo é uma atividade que produz subjetividade consumista nos participantes do processo e reafirma o tempo espetacular do capital. / The present work aims to study the ecotourism. It has investigated the existence of a preoccupation with the environmental education (and its leading principles) in the activities and ecotourism packages traded on the market; to achieve such aim it has searched to understand the term ecotourism from the culture of consumption and society of the spectacle perspective, and under such view, to discuss its relation with themes such as tourism and consumption, nature and environmental education; It has searched to identify the philosophical basis of the ecotourism work (particularly in its relation with the environmental education matter) developed by the operators of such activities; and finally, to do a conceptual critic on the issues considered on this essay. 03 operators of the ecotourism market and 03 researchers of areas related to the theme here proposed were interviewed. This essay was written based on the information collected through bibliographic research and opinions gathered in the interviews on the field work. It was concluded that the ecotourism as a market activity isnt much used to spread the environmental awareness due to the fact that the operators have a view of environmental education close to a formal education and such characteristic shouldnt be integrated to the tourism activities fun moments and leisure; it was also noticed that the ecotourism is an activity that evokes consumption patterns among its participants and reassures the capital´s spectacular time.

Ce présent travail aborde le carnaval de Cayenne en tant que phénomène festif issu du fait colonial et interroge les mécanismes d'ajustement qui ont amené esclaves et "gens de couleur libres" à retourner une fête religieuse, au service d’une coercition imposée par l’ordre colonial et esclavagiste, en une pratique subversive. Il s'inscrit dans le champ des études théâtrales et aborde le carnaval à travers sa dramaticité. L'histoire du carnaval, des premiers temps de la colonie jusqu’à à la période contemporaine, montre une mise en place d'esthétiques originales qui autorisent toutes les subversions. La tradition dramatique carnavalesque est fortement marquée par la pratique du Détour pouvant se définir par l'exacerbation du caractère dérisoire de l'être créole. Le grotesque européen se mêle à la dérision militante créole offrant un héritage théâtral pouvant exprimer une digne rage, une humanité perdue, une utopie nouvelle. La danse des bals, populaires autant que ceux de la bourgeoisie noire, quant à elle, est un art de la fuite et convoque le marronnage créateur en construisant un espace-temps différent où l'être renaît dans un sentiment d'enthousiasme. Cet art de la fuite au sein des vidé participe à une immense transe collective où la violence jaillit devenant un moyen de déstabiliser l'ordre en place et d'aborder une nouvelle sociabilité. Le carnaval contemporain tente de résoudre les problématiques de l'histoire et devient l'inverse du Détour. L'être sort de l'ombre pour manifester sa valeur d'exposition manifestant un hédonisme générale. La théâtralité y est brillante et manifeste une hypervisibilité de soi. C'est l'ère de l'exacerbation de la valeur de l'être cayennais. / This present work approaches the carnival of Cayenne as a festive phenomenon which has developed from the colonial fact. It examines the mechanisms of this adjustment by which slaves and "free people of color" have converted a religious feast reinforcing colonial order and slavery, and subverted it into a manifestation of pride in identity and expectation of a better future. As such this falls within the field of theatrical studies, i.e. evaluating the carnival as drama. The history of the carnival, from the colony's earliest days until the present, shows how new aesthetics have, year after year, changed its original role. The dramatic traditions of the carnival were strongly marked by the practice of "Détour", best defined as stressing the derisory character of the Creole being. European grotesque was mixed with Creole militant mockery, offering a theatrical inheritance expressing dignified rage, a lost humanity, a new utopia. The dance of balls, as popular as those of the black bourgeoisie, is an art of the flight, and summons creative marronnage by building a different space-time in which the being is reborn in a feeling of liberation and enthusiasm. This art of flight within the "vidé" occurs in an immense collective trance, where violence erupts, destabilizing an old order, encouraging a new. The contemporary carnival tries to solve the problems of history and becomes the opposite of the "Détour". The being comes out of darkness displaying its exhibition value, showing a general hedonism. Its theatricality is brilliant and manifests a hypervisibility. The true value of the Cayennais being is recognised.

This thesis explores the relation between technology and the social, how they determine and naturalize each other, by examining YouTube's socio-technical infrastructure. YouTube is theorized as a dispositif that produces regimes of knowledge, power and subjectification within "control societies" characterized by an informational mode of production. Utilizing a media archaeological and materialist, critical theoretical approach, I analyze YouTube's database, interface, users, algorithms and protocols alongside economic factors, media, advertising and intellectual property laws, as technical and social forces of production in which power relations arise. I find that YouTube incites users to make themselves visible through information inputs, processed by database algorithms to produce outputs as inevitable representations of user actions. On the interface, this is translated as a sequence of algorimages, defined by what is "up next", in accordance with an information and "attention economy" extracting revenue by capturing and commodifying users' attention into hierarchies of value. I conclude that algorimages, whether of cats or political violence, are made homogeneous by the execution of an algorithmic command of continual update, propagating them through their destruction as necropower in a necropolitical regime of visibility, producing YouTube as an "ecology of finitude" and control societies as an inevitable, "third nature".