Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates
Ano de defesa: | 2016 |
---|---|
Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Dissertação |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Pontif?cia Universidade Cat?lica do Rio Grande do Sul
|
Programa de Pós-Graduação: |
Programa de P?s-Gradua??o em Comunica??o Social
|
Departamento: |
Faculdade de Comunica??o Social
|
País: |
Brasil
|
Palavras-chave em Português: | |
Área do conhecimento CNPq: | |
Link de acesso: | http://tede2.pucrs.br/tede2/handle/tede/6976 |
Resumo: | This study considers the concept of Remix Culture as a way to develop new ways of dealing with images in our contemporary context. From a communicational approach, we observe the relationship between Remix and photography through photo books assemblages in softwares using ready-made templates in order to understand how the Remix manifest itself through these dynamics. Our theoretical foundation is composed mainly of concepts of Remix and Remix Culture, from the ideas of Eduardo Navas, Lev Manovich and Lawrence Lessig. In order to understand photography?s place in the contemporary world and the human?s relationship to the images, we use Vil?m Flusser?s contribution. With the purpose of discussing the photography metamorphoses in the Remix process, we use the concept of Aura, by Walter Benjamin (1985), and Allegory, by Craig Owens (2004). The Software Studies perspective (MANOVICH, 2013; FULLER, 2008), in turn, contributes to the construction of the proposed methodology, which unfolds in the analysis proposing four basic axes: the first one unveils the issue of the template, in order to understand what is their role in these assemblies and their relationship with the Remix actions. We understand that, while the system of templates and their easy-to-use nature simplifies the assembly process, this very autonomy confiscates from the user his authorial emancipation from the photo book. In the second axis, we unfold Navas (2012) Remix categories, in order to check what kinds of Remix can manifest themselves through different construction possibilities in our object, identifying the presence of two of the four categories proposed by the author. In the third axis, we make an observation about the profile of users of this kind of softwares, trying to identify how they behave in relation to the Remix possibilities and, as a result, we perceived three different types of users, from the passive one to a more active one in the handlings. In the fourth and last axis, we analyze how we can delineate the authorship in these software constructed assemblages, and we could verify that the software is able to invade the user?s creating space, blurring the boundaries of authorship in these dynamics. |
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Tietzmann, Roberto695.271.050-72http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4792352Z6804.054.360-68http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4321288Y7Magni, Lolita Fernanda2016-09-28T14:28:14Z2016-06-23http://tede2.pucrs.br/tede2/handle/tede/6976This study considers the concept of Remix Culture as a way to develop new ways of dealing with images in our contemporary context. From a communicational approach, we observe the relationship between Remix and photography through photo books assemblages in softwares using ready-made templates in order to understand how the Remix manifest itself through these dynamics. Our theoretical foundation is composed mainly of concepts of Remix and Remix Culture, from the ideas of Eduardo Navas, Lev Manovich and Lawrence Lessig. In order to understand photography?s place in the contemporary world and the human?s relationship to the images, we use Vil?m Flusser?s contribution. With the purpose of discussing the photography metamorphoses in the Remix process, we use the concept of Aura, by Walter Benjamin (1985), and Allegory, by Craig Owens (2004). The Software Studies perspective (MANOVICH, 2013; FULLER, 2008), in turn, contributes to the construction of the proposed methodology, which unfolds in the analysis proposing four basic axes: the first one unveils the issue of the template, in order to understand what is their role in these assemblies and their relationship with the Remix actions. We understand that, while the system of templates and their easy-to-use nature simplifies the assembly process, this very autonomy confiscates from the user his authorial emancipation from the photo book. In the second axis, we unfold Navas (2012) Remix categories, in order to check what kinds of Remix can manifest themselves through different construction possibilities in our object, identifying the presence of two of the four categories proposed by the author. In the third axis, we make an observation about the profile of users of this kind of softwares, trying to identify how they behave in relation to the Remix possibilities and, as a result, we perceived three different types of users, from the passive one to a more active one in the handlings. In the fourth and last axis, we analyze how we can delineate the authorship in these software constructed assemblages, and we could verify that the software is able to invade the user?s creating space, blurring the boundaries of authorship in these dynamics.Este estudo considera a perspectiva da Cultura Remix como um caminho para pensar as novas formas de lidar com as imagens no contexto contempor?neo. A partir de um olhar comunicacional, observamos a rela??o entre o Remix e a fotografia atrav?s das montagens de fotolivros nos softwares que utilizam templates prontos, a fim de compreender como o Remix pode se manifestar nestas din?micas. Nossa fundamenta??o te?rica ? composta principalmente pelos conceitos de Remix e Cultura Remix, a partir das reflex?es de Eduardo Navas, Lev Manovich e Lawrence Lessig. Para uma compreens?o sobre o lugar da fotografia na contemporaneidade e da rela??o do homem com as imagens, convocamos o pensamento de Vil?m Flusser. Sobre as metamorfoses da fotografia nos processos de Remix, utilizamos o conceito de Aura, em Walter Benjamin (1985), e de Alegoria em Craig Owens (2004). A perspectiva dos Software Studies (MANOVICH, 2013; FULLER, 2008), por sua vez, contribui para a constru??o da proposta metodol?gica, que se desdobra na an?lise feita a partir de quatro eixos fundamentais: no primeiro, desvelamos a quest?o do template, a fim de compreender qual o seu papel nestas montagens e a sua rela??o com as a??es de Remix. Entendemos que, ao mesmo tempo em que o sistema de templates e a sua natureza easy-touse simplificam o processo de montagem, esta mesma autonomia confisca do usu?rio a emancipa??o autoral sobre o fotolivro. No segundo eixo, desdobramos as categorias do Remix em Navas (2012), como forma de verificar que tipos de Remix podem se manifestar nas diferentes possibilidades de constru??o, identificando no nosso objeto a presen?a de duas das quatro categorias propostas pelo autor. No terceiro eixo, fazemos uma observa??o sobre o perfil dos utilizadores destes softwares, em busca de identificar como estes se comportam em rela??o ?s possibilidades de Remix e, em decorr?ncia, percebemos tr?s tipos diferentes de usu?rios, do mais passivo ao mais ativo nas manipula??es. No quarto e ?ltimo eixo, analisamos como pode se desenhar a autoria nestas montagens constru?das com o aux?lio do software, e pudemos verificar que o software ? capaz de invadir o espa?o de cria??o do usu?rio, borrando as fronteiras da autoria nestas din?micas.Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-09-28T14:28:14Z No. of bitstreams: 1 DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf: 7840763 bytes, checksum: 523fb95d4ab3e1d3e5340a346d7d5f07 (MD5)Made available in DSpace on 2016-09-28T14:28:14Z (GMT). No. of bitstreams: 1 DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf: 7840763 bytes, checksum: 523fb95d4ab3e1d3e5340a346d7d5f07 (MD5) Previous issue date: 2016-06-23Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPESapplication/pdfhttp://tede2.pucrs.br:80/tede2/retrieve/166340/DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.jpgporPontif?cia Universidade Cat?lica do Rio Grande do SulPrograma de P?s-Gradua??o em Comunica??o SocialPUCRSBrasilFaculdade de Comunica??o SocialIMAGENS - REPRESENTA??OCULTURAFOTOGRAFIACOMUNICA??OCIENCIAS SOCIAIS APLICADAS::COMUNICACAORemix e fotografia : manifesta??es do remix nas montagens de fotolivros com templatesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis-12272408519215184826006006006007651647212179642901-40560210555028745732075167498588264571info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_RSinstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSTHUMBNAILDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.jpgDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.jpgimage/jpeg3154http://tede2.pucrs.br/tede2/bitstream/tede/6976/5/DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.jpgd3e3fee1b4b494227e15245745ac8126MD55TEXTDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.txtDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.txttext/plain322306http://tede2.pucrs.br/tede2/bitstream/tede/6976/4/DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf.txt031185be2e6d7bfee1c06afa4229ea3cMD54LICENSElicense.txtlicense.txttext/plain; charset=utf-8610http://tede2.pucrs.br/tede2/bitstream/tede/6976/3/license.txt5a9d6006225b368ef605ba16b4f6d1beMD53ORIGINALDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdfDIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdfapplication/pdf7840763http://tede2.pucrs.br/tede2/bitstream/tede/6976/2/DIS_LOLITA_FERNANDA_MAGNI_COMPLETO.pdf523fb95d4ab3e1d3e5340a346d7d5f07MD52tede/69762016-09-28 12:00:52.493oai:tede2.pucrs.br:tede/6976QXV0b3JpemHDp8OjbyBwYXJhIFB1YmxpY2HDp8OjbyBFbGV0csO0bmljYTogQ29tIGJhc2Ugbm8gZGlzcG9zdG8gbmEgTGVpIEZlZGVyYWwgbsK6OS42MTAsIGRlIDE5IGRlIGZldmVyZWlybyBkZSAxOTk4LCBvIGF1dG9yIEFVVE9SSVpBIGEgcHVibGljYcOnw6NvIGVsZXRyw7RuaWNhIGRhIHByZXNlbnRlIG9icmEgbm8gYWNlcnZvIGRhIEJpYmxpb3RlY2EgRGlnaXRhbCBkYSBQb250aWbDrWNpYSBVbml2ZXJzaWRhZGUgQ2F0w7NsaWNhIGRvIFJpbyBHcmFuZGUgZG8gU3VsLCBzZWRpYWRhIGEgQXYuIElwaXJhbmdhIDY2ODEsIFBvcnRvIEFsZWdyZSwgUmlvIEdyYW5kZSBkbyBTdWwsIGNvbSByZWdpc3RybyBkZSBDTlBKIDg4NjMwNDEzMDAwMi04MSBiZW0gY29tbyBlbSBvdXRyYXMgYmlibGlvdGVjYXMgZGlnaXRhaXMsIG5hY2lvbmFpcyBlIGludGVybmFjaW9uYWlzLCBjb25zw7NyY2lvcyBlIHJlZGVzIMOgcyBxdWFpcyBhIGJpYmxpb3RlY2EgZGEgUFVDUlMgcG9zc2EgYSB2aXIgcGFydGljaXBhciwgc2VtIMO0bnVzIGFsdXNpdm8gYW9zIGRpcmVpdG9zIGF1dG9yYWlzLCBhIHTDrXR1bG8gZGUgZGl2dWxnYcOnw6NvIGRhIHByb2R1w6fDo28gY2llbnTDrWZpY2EuCg==Biblioteca Digital de Teses e Dissertaçõeshttp://tede2.pucrs.br/tede2/PRIhttps://tede2.pucrs.br/oai/requestbiblioteca.central@pucrs.br||opendoar:2016-09-28T15:00:52Biblioteca Digital de Teses e Dissertações da PUC_RS - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false |
dc.title.por.fl_str_mv |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
title |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
spellingShingle |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates Magni, Lolita Fernanda IMAGENS - REPRESENTA??O CULTURA FOTOGRAFIA COMUNICA??O CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
title_full |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
title_fullStr |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
title_full_unstemmed |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
title_sort |
Remix e fotografia : manifesta??es do remix nas montagens de fotolivros com templates |
author |
Magni, Lolita Fernanda |
author_facet |
Magni, Lolita Fernanda |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Tietzmann, Roberto |
dc.contributor.advisor1ID.fl_str_mv |
695.271.050-72 |
dc.contributor.advisor1Lattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4792352Z6 |
dc.contributor.authorID.fl_str_mv |
804.054.360-68 |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4321288Y7 |
dc.contributor.author.fl_str_mv |
Magni, Lolita Fernanda |
contributor_str_mv |
Tietzmann, Roberto |
dc.subject.por.fl_str_mv |
IMAGENS - REPRESENTA??O CULTURA FOTOGRAFIA COMUNICA??O |
topic |
IMAGENS - REPRESENTA??O CULTURA FOTOGRAFIA COMUNICA??O CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.cnpq.fl_str_mv |
CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
This study considers the concept of Remix Culture as a way to develop new ways of dealing with images in our contemporary context. From a communicational approach, we observe the relationship between Remix and photography through photo books assemblages in softwares using ready-made templates in order to understand how the Remix manifest itself through these dynamics. Our theoretical foundation is composed mainly of concepts of Remix and Remix Culture, from the ideas of Eduardo Navas, Lev Manovich and Lawrence Lessig. In order to understand photography?s place in the contemporary world and the human?s relationship to the images, we use Vil?m Flusser?s contribution. With the purpose of discussing the photography metamorphoses in the Remix process, we use the concept of Aura, by Walter Benjamin (1985), and Allegory, by Craig Owens (2004). The Software Studies perspective (MANOVICH, 2013; FULLER, 2008), in turn, contributes to the construction of the proposed methodology, which unfolds in the analysis proposing four basic axes: the first one unveils the issue of the template, in order to understand what is their role in these assemblies and their relationship with the Remix actions. We understand that, while the system of templates and their easy-to-use nature simplifies the assembly process, this very autonomy confiscates from the user his authorial emancipation from the photo book. In the second axis, we unfold Navas (2012) Remix categories, in order to check what kinds of Remix can manifest themselves through different construction possibilities in our object, identifying the presence of two of the four categories proposed by the author. In the third axis, we make an observation about the profile of users of this kind of softwares, trying to identify how they behave in relation to the Remix possibilities and, as a result, we perceived three different types of users, from the passive one to a more active one in the handlings. In the fourth and last axis, we analyze how we can delineate the authorship in these software constructed assemblages, and we could verify that the software is able to invade the user?s creating space, blurring the boundaries of authorship in these dynamics. |
publishDate |
2016 |
dc.date.accessioned.fl_str_mv |
2016-09-28T14:28:14Z |
dc.date.issued.fl_str_mv |
2016-06-23 |
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por |
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por |
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600 600 600 600 |
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info:eu-repo/semantics/openAccess |
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openAccess |
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Pontif?cia Universidade Cat?lica do Rio Grande do Sul |
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Programa de P?s-Gradua??o em Comunica??o Social |
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