record

Thesis Info

LABS ID
00919
Thesis Title
The Theory of Algorithmic Form. Between an aesthetics and an ethics of algorithms: relations among image, enjoyment and action
Author
Eli Borges Junior
2nd Author
3rd Author
Degree
PhD
Year
2020
Number of Pages
427
University
University of São Paulo (USP)
Thesis Supervisor
Massimo Di Felice
Supervisor e-mail
massimo AT usp.br
Other Supervisor(s)
Language(s) of Thesis
Portuguese
Department / Discipline
School of Communication and Arts / Communication Science
Copyright Ownership
University of São Paulo
Languages Familiar to Author
Portuguese, English, French, Spanish, Italian
URL where full thesis can be found
Keywords
Algorithms; image; enjoyment; ethics; aesthetics; digital networks; perception; action; digital technologies
Abstract: 200-500 words
As a result of a master's research also supported by the São Paulo Research Foundation (FAPESP), the thesis presents a theory on the possibilities of transforming the status of the image and its modes of enjoyment from the hypertrophy of digital communication and information technologies, focusing on one of its fundamental elements: the algorithms. The study starts from the construction of a historical-theoretical path that seeks to relate the emergence of media technologies to the changes in the modes of operation and enjoyment of images. The construction of this path was simultaneous with a mapping of representative cases, images of different natures, which led us to establish two models of operation and enjoyment of the image: one before and the other after the advent of digital. We describe, then, these two models (forms) from what we identified as their main origins, characteristics and resonances: 1) the spectacular form, characterized by frontality, representation and rationality; and 2) the algorithmic form, articulated by familiarity, expression and sensoriality. The thesis focuses on this second model, building what is defined as an "Atlas" of "algorithmic images" in order to describe, from a technical and philosophical perspective, its constituent elements. We propose that these elements would not only be traces of these images, but they would also resonate, beyond them, as precipitants of another modus percipiendi, expressed in urgent phenomena of our times, a hypothesis that we explore in the last part of the thesis: the crisis of the notion of image (and of spectator), the problem of existence (and of truth) and the crisis of political action (and its gestures). The thesis was developed at University of São Paulo (USP), Brazil, with a research period at School of Advanced Studies in the Social Sciences (EHESS) of Paris, France. All the scientific activities were supported by doctoral scholarships: grant #2016/03588-7 and grant #2018/06565-3, São Paulo Research Foundation (FAPESP).