Detalhes bibliográficos
| Ano de defesa: |
2011 |
| Autor(a) principal: |
Santos, Cesar Augusto Baio
 |
| Orientador(a): |
Machado, Arlindo |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Comunicação
|
| País: |
BR
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucsp.br/handle/handle/4287
|
Resumo: |
This work investigates the transformations in processes of intermediation of sense in digital image and its aesthetic unfoldings. In order to achieve that, an update of theories on dispositif is suggested (BAUDRY, FOUCAULT, DELEUZE), mainly based on the systemic phenomenology of Vilém Flusser, to develop thinking on a non-immersive condition of image. This hypothesis is taken forward with the problematization of neoplatonic conceptions regarding virtual environments (HEIM, FRIEDBERG, GRAU) which establish sense regimes based on the abduction of the individual in the parallel worlds of immersive environments. The main issues raised are related to the validity of these theories towards the dispositifs created in a context of Augmented Reality, ubiquitous computing (WEISER), cybrid condition of space (ANDERS) and networks (BEIGUELMAN); and, above all, of interfaces based on physical computing and algorithms of computer vision. Interpreted as a projection of conceptual abstraction towards concreteness of experience, image stops being understood for dualities between what's "real" and "virtual" or "physical" and "informational", to present itself as a phenomenon that is projected from the dispositif to establish new relations with phenomenons of other natures which constitute reality. Considering this project's condition, image starts to give itself to experience through processes of objectification and otherization, installing new aesthetic experiences of image. Being integrated to the coded world (FLUSSER), image becomes an object of a specific genesis among many others which surround us. However, the processes of otherization approximate the condition of image and of the individual to that one assigned to the body in performance aesthetics (COHEN, LEHMANN, FISCHER-LICHTE), demanding from both a performative posture based on the significant value of presence (GUMBRECHT, ZUMTHOR) and gesture (FLUSSER). Those transformations in the intermediation processes between piece and individual launch new aesthetic vectors to the understanding of media art. This scenery is outlined in this research considering the analysis of audiovisual pieces produced in the last two decades, which present themselves as technical dispositifs that are open to someone's interaction. The immersive environments in Virtual Reality, CAVEʼs and digital panoramas are analyzed against cybernetic dispositifs, pieces that use techniques of augmented reality and others that put image and public in performative conditions. The analysis goes through theories of media art (BELLOUR, DUBOIS, MACHADO) and of new media (MURAY, MANOVICH, COUCHOT, WEIBEL, HANSEN) identifying displacements in the condition of image and of subjectivity's figures, this way demanding other postures and sensibilities, both from creators and from those who place themselves before the image |
