cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.14327727
title: The shape of objects

description: Abstract The identification of objects based on their form is a task that we carry out on a daily basis without much difficulties and without asking ourselves how the identity comes to the form. Semiotics assumes the task of describing this process from the moment in which the identity of the object, its categorization, is conceived in terms of meaning. However, a difficulty immediately arises of describing by a general method the diversity of forms that man faces. Here it is proposed to carry out the description of three-dimensional shapes from two-dimensional images and with the help of a qualitative analysis in terms of reference points, inscribed on a positional grid. The paper justifies the semiotic relevance of the adopted method and illustrates its application through a study of pre-Hispanic Mayan vessels.
DOI: 10.6084/m9.figshare.14327727.v1
title: The shape of objects

description: Abstract The identification of objects based on their form is a task that we carry out on a daily basis without much difficulties and without asking ourselves how the identity comes to the form. Semiotics assumes the task of describing this process from the moment in which the identity of the object, its categorization, is conceived in terms of meaning. However, a difficulty immediately arises of describing by a general method the diversity of forms that man faces. Here it is proposed to carry out the description of three-dimensional shapes from two-dimensional images and with the help of a qualitative analysis in terms of reference points, inscribed on a positional grid. The paper justifies the semiotic relevance of the adopted method and illustrates its application through a study of pre-Hispanic Mayan vessels.
DOI: 10.6084/m9.figshare.14327730
title: (Geo)politics of perception: Limite, by Mário Peixoto, and Uma Página da Loucura, by Kinugasa Teinosuke

description: Abstract The article engages a comparative analysis of two films considered global landmarks of the “peripheral” interwar avantgarde, whose paths display many common aspects: Limite, by Mário Peixoto (1931), and A Page of Madness, by Kinugasa Teinosuke (1929). We argue for a post-colonial reading of film-phenomenology, focusing on their materiality and the ways in which they show the very filmic apparatus. Starting from the discourses that constituted the local fascination with the films as exemplary of a modern and universal perceptual regime, we argue that through their very material constitution, the films put forth a counter-(geo)politics of time inherent to the corporeal dimension of filmic perception.
DOI: 10.6084/m9.figshare.14327730.v1
title: (Geo)politics of perception: Limite, by Mário Peixoto, and Uma Página da Loucura, by Kinugasa Teinosuke

description: Abstract The article engages a comparative analysis of two films considered global landmarks of the “peripheral” interwar avantgarde, whose paths display many common aspects: Limite, by Mário Peixoto (1931), and A Page of Madness, by Kinugasa Teinosuke (1929). We argue for a post-colonial reading of film-phenomenology, focusing on their materiality and the ways in which they show the very filmic apparatus. Starting from the discourses that constituted the local fascination with the films as exemplary of a modern and universal perceptual regime, we argue that through their very material constitution, the films put forth a counter-(geo)politics of time inherent to the corporeal dimension of filmic perception.
DOI: 10.6084/m9.figshare.14327732
title: The formless image: reflections on the otherness of faceless bodies

description: Abstract The aim of this essay is to raise questions about the possibilities of alterity of the faceless bodies, taking as central concern the question: how much can we decompose the human figure so that it remains human? Starting from a set of images that bring the disfigure as a central pictorial element, the text discusses the possibilities of construction and access to the other in the image. We take as conceptual and methodological anchoring the thought of Georges Bataille, notably the concept of formless, which suggests us to think of otherness from a transgressive similarity, based on the difference and the decomposition of forms. The text seeks to investigate what alterity is possible before faceless bodies, and how this reverberates in the propositions of contemporary visual culture.
DOI: 10.6084/m9.figshare.14327732.v1
title: The formless image: reflections on the otherness of faceless bodies

description: Abstract The aim of this essay is to raise questions about the possibilities of alterity of the faceless bodies, taking as central concern the question: how much can we decompose the human figure so that it remains human? Starting from a set of images that bring the disfigure as a central pictorial element, the text discusses the possibilities of construction and access to the other in the image. We take as conceptual and methodological anchoring the thought of Georges Bataille, notably the concept of formless, which suggests us to think of otherness from a transgressive similarity, based on the difference and the decomposition of forms. The text seeks to investigate what alterity is possible before faceless bodies, and how this reverberates in the propositions of contemporary visual culture.
DOI: 10.6084/m9.figshare.12027540.v1
title: The construction of the political figure of Bolsonaro in El País: methodological exercise for analysis on meaning production in journalism

description: Abstract The activity, in digital networks, of several actors who disseminate false content and news through social networking sites and applications, has mobilized the studies on the interaction practices and meaning production in journalism. The 2018 presidential campaign in Brazil has generated a great amount of events that provide materials for this type of investigation. From the purpose of abstracting a scale on the meanings produced by the press around a political figure and, later, to cross the inferences obtained with the meanings produced by the consumers of these journalistic contents, a methodological exercise was undertaken in the site of the Brazilian version of the Spanish newspaper El País and on Facebook. Data collection and analysis observe and evaluate journalistic practice in relation to the production of meanings in the networks.
DOI: 10.6084/m9.figshare.14327735
title: Photography, record without document

description: Abstract This paper proposes to think of another possible story told by photographs about the Revolt of 1924, understanding them as different narratives about the event in question. In this sense, it studies the transgression of the traditional concept of photography as a document of reality. It is observed that photography promotes another type of narrative that goes beyond the record as historical documentation. For this, the paper is based on concepts and reflections brought by various authors, such as Carlo Ginzburg on the concept of trail, François Dosse e Mauricio Lazzarato, about the concept of event, Joan Fontcuberta, Vilém Flusser and Walter Benjamin, who permeate the discussions about photography, Lucrécia D´Alessio Ferrara, on the issues related to communication, in addition to the bibliography on the Revolt of 1924.
DOI: 10.6084/m9.figshare.14327735.v1
title: Photography, record without document

description: Abstract This paper proposes to think of another possible story told by photographs about the Revolt of 1924, understanding them as different narratives about the event in question. In this sense, it studies the transgression of the traditional concept of photography as a document of reality. It is observed that photography promotes another type of narrative that goes beyond the record as historical documentation. For this, the paper is based on concepts and reflections brought by various authors, such as Carlo Ginzburg on the concept of trail, François Dosse e Mauricio Lazzarato, about the concept of event, Joan Fontcuberta, Vilém Flusser and Walter Benjamin, who permeate the discussions about photography, Lucrécia D´Alessio Ferrara, on the issues related to communication, in addition to the bibliography on the Revolt of 1924.
DOI: 10.6084/m9.figshare.14327723
title: Semiotics through the test of writing: editorial regimes and intelligibility

description: Abstract The way in which the vocation of semiotics is understood necessarily translates into how research results are articulated and formulated. If the various conceptions of the discipline that discriminate the community of semioticians were clearly brought to light by Jean-Marie Floch in the eighties, his reflection only took into account the postures adopted by each researcher but was far too brief to tackle the issue of the texts produced by them. This question is what this article attempts to provide answers to by proposing a topography of the various types of writing that can be observed in contemporary semiotic literature, taking into account a central, not to say crucial, variable when it comes to research texts, that of their intelligibility. Largely inspired by the advances proposed by Eric Landowski in terms of interactions – here understood as those that texts build between their authors and their readers – the following paper allows to identify four major writing regimes.
DOI: 10.6084/m9.figshare.14327736
title: Communication and sociabilility - perspectives in the field of Communication

description: Abstract The aim of this paper is to map authors and theories used as reference by researchers in the field of Communication and Sociability in Brazil. The selected corpus includes 98 articles from Compós during the period from 2006 to 2015, collected from the homonymous working group. These results integrate a broader research that aims to identify the contemporary theories that underpin the field of Communication in the country. The analysis highlights two central axes in the studies regarded in this area: the subject itself (the question of subjectivity, autonomy and oppression); the society in which it is inscribed (capitalist society, society of classes, but also the network society formed by the new technological devices).
DOI: 10.6084/m9.figshare.14327736.v1
title: Communication and sociabilility - perspectives in the field of Communication

description: Abstract The aim of this paper is to map authors and theories used as reference by researchers in the field of Communication and Sociability in Brazil. The selected corpus includes 98 articles from Compós during the period from 2006 to 2015, collected from the homonymous working group. These results integrate a broader research that aims to identify the contemporary theories that underpin the field of Communication in the country. The analysis highlights two central axes in the studies regarded in this area: the subject itself (the question of subjectivity, autonomy and oppression); the society in which it is inscribed (capitalist society, society of classes, but also the network society formed by the new technological devices).
DOI: 10.6084/m9.figshare.14327738.v1
title: The presence of arquetypes in youtubers: modes and strategies of influence

description: Abstract Among the changes occurred in the modes of influence, there are the new formats made possible by digital networks. YouTube, through “your” celebrities, is one of those networks. Its forms of influence mix old schemes with new socio-technical systems. Based on the SocialBlade rankings, three of the main youtubers in the “Portuguese speaking space” were selected. Qualitatively, and based on the theory of archetypes, the presence of archetypes and the way they are used in titles, construction, legitimation and content manipulation were analyzed. The creation of common figures and elements (play, anger, violence, revenge, shadow, mother or God) between producer and consumer is one of the most common strategies to “capture” the attention of followers.
DOI: 10.6084/m9.figshare.14327738
title: The presence of arquetypes in youtubers: modes and strategies of influence

description: Abstract Among the changes occurred in the modes of influence, there are the new formats made possible by digital networks. YouTube, through “your” celebrities, is one of those networks. Its forms of influence mix old schemes with new socio-technical systems. Based on the SocialBlade rankings, three of the main youtubers in the “Portuguese speaking space” were selected. Qualitatively, and based on the theory of archetypes, the presence of archetypes and the way they are used in titles, construction, legitimation and content manipulation were analyzed. The creation of common figures and elements (play, anger, violence, revenge, shadow, mother or God) between producer and consumer is one of the most common strategies to “capture” the attention of followers.
DOI: 10.6084/m9.figshare.14327741.v1
title: The research on writings: a dialogue between Linguistics, Semiotics and Anthropology

description: Abstract The research on writings remained for a long time subordinated to Linguistics, following a simplistic representative-phonocentric conception in which writing was subjected to language. This position is now unsustainable. Due to the encounter between Semiotics, Linguistics and Anthropology, the research on writings has been renewed. According to the studies of figurative and plastic semiotics, imagery has been reintroduced in the study of writings, as well as the awareness of spatiality. The anthropological approach has shown that writing and its mechanisms present a set of cultural values, being a privileged emplacement for the ideological and symbolic production of a society. Linguistics has therefore opened up to other disciplines, now considering writing as a pluri-semiotic continuum that comprises both an iconic dimension and a linguistic dimension.
DOI: 10.6084/m9.figshare.14327741
title: The research on writings: a dialogue between Linguistics, Semiotics and Anthropology

description: Abstract The research on writings remained for a long time subordinated to Linguistics, following a simplistic representative-phonocentric conception in which writing was subjected to language. This position is now unsustainable. Due to the encounter between Semiotics, Linguistics and Anthropology, the research on writings has been renewed. According to the studies of figurative and plastic semiotics, imagery has been reintroduced in the study of writings, as well as the awareness of spatiality. The anthropological approach has shown that writing and its mechanisms present a set of cultural values, being a privileged emplacement for the ideological and symbolic production of a society. Linguistics has therefore opened up to other disciplines, now considering writing as a pluri-semiotic continuum that comprises both an iconic dimension and a linguistic dimension.
DOI: 10.6084/m9.figshare.14327744
title: Light, shadow, twilight and the creation of meanings in A erva do rato

description: Abstract This paper proposes a reflection on the importance of Walter Carvalho’s cinematography to transform light, shadow and darkness into resources that create layers of meaning in the narrative of Julio Bressane’s A erva do rato. The film is a free adaptation of the short stories “Um esqueleto” and “A causa secreta”, both by Machado de Assis, and tells the story of a strange love partnership, shaken by the unexpected appearance of a rat. Elements such as voyeurism, perversion and fetishism appear in the dim light or through chiaroscuro, in a mysterious and obscure atmosphere. Light and shadow act as structuring elements of the film and dialogue with pictorial references.
DOI: 10.6084/m9.figshare.14327744.v1
title: Light, shadow, twilight and the creation of meanings in A erva do rato

description: Abstract This paper proposes a reflection on the importance of Walter Carvalho’s cinematography to transform light, shadow and darkness into resources that create layers of meaning in the narrative of Julio Bressane’s A erva do rato. The film is a free adaptation of the short stories “Um esqueleto” and “A causa secreta”, both by Machado de Assis, and tells the story of a strange love partnership, shaken by the unexpected appearance of a rat. Elements such as voyeurism, perversion and fetishism appear in the dim light or through chiaroscuro, in a mysterious and obscure atmosphere. Light and shadow act as structuring elements of the film and dialogue with pictorial references.
DOI: 10.6084/m9.figshare.14327745
title: Iddle life and cinema in Marc Ferrez’ photography

description: Abstract The stereoscopic autochromes that Marc Ferrez (1843-1923) made in his last decade of life are radically different from the author’s most known work. This essay discusses initially a few urban views of Rio de Janeiro around 1900 and suggests, in contrast with them, that the idyllic-melancholic images produced, mostly in Europe, during the Great War period, are the result of the influence of cinema on the gaze of the veteran photographer.
DOI: 10.6084/m9.figshare.14327745.v1
title: Iddle life and cinema in Marc Ferrez’ photography

description: Abstract The stereoscopic autochromes that Marc Ferrez (1843-1923) made in his last decade of life are radically different from the author’s most known work. This essay discusses initially a few urban views of Rio de Janeiro around 1900 and suggests, in contrast with them, that the idyllic-melancholic images produced, mostly in Europe, during the Great War period, are the result of the influence of cinema on the gaze of the veteran photographer.
DOI: 10.6084/m9.figshare.14327748.v1
title: Politics in the era of total visibility: conjunctural observations from the episode The Waldo Moment - of Black Mirror

description: Abstract This paper brings an aesthetic-political essay that aims to articulate philosophical categories that allow correlating Black Mirror series’ episode The Waldo Moment with contemporary world political conjuncture, especially taking the case of Donald Trump as a paradigm. In this regard, Waldo’s entry into the scene is taken as a sign that indicates, at the same time and in contradiction, the integral positivization of spectacle and anti-systemic revolt. From Vladimir Safatle’s reading of cynicism, this paper seeks to understand a discourse that distorts the difference between constative and performative and affirms itself through brutal humor, allowing the entry of elements that were previously forbidden into public sphere. Finally, it makes a structural discourse analysis of the oppositions that feed “cultural wars” from total visibility that social networks produce, dissolving the difference between public and private.
DOI: 10.6084/m9.figshare.14327748
title: Politics in the era of total visibility: conjunctural observations from the episode The Waldo Moment - of Black Mirror

description: Abstract This paper brings an aesthetic-political essay that aims to articulate philosophical categories that allow correlating Black Mirror series’ episode The Waldo Moment with contemporary world political conjuncture, especially taking the case of Donald Trump as a paradigm. In this regard, Waldo’s entry into the scene is taken as a sign that indicates, at the same time and in contradiction, the integral positivization of spectacle and anti-systemic revolt. From Vladimir Safatle’s reading of cynicism, this paper seeks to understand a discourse that distorts the difference between constative and performative and affirms itself through brutal humor, allowing the entry of elements that were previously forbidden into public sphere. Finally, it makes a structural discourse analysis of the oppositions that feed “cultural wars” from total visibility that social networks produce, dissolving the difference between public and private.
DOI: 10.6084/m9.figshare.14327750
title: Inscription of alterity, artifactization of the gaze: the photography of vulnerable people in Lee Jefries

description: Abstract This paper takes up the photographic work Lost Angels (2014), by Lee Jefries, which portraits people living on the streets in large urban centers, to think about how the effects of the structure in photographic image constitute a contingent relationship of alterity. Through these portraits of vulnerable people, Jeffries signs ways to summon the look articulated between the desired codification and the regularization of the aesthetic dimension. In this duality, the images are examined based on the possible repercussions of the modes of figuration that trigger a certain visual delight according to the ways in which the presence of people is called upon. We reflect on how documentary photography could offer visual operators in the topics of human portrait and what is its specific designation in these subjects’ exposures in a plastic and conversational perspective of the image.
DOI: 10.6084/m9.figshare.14327750.v1
title: Inscription of alterity, artifactization of the gaze: the photography of vulnerable people in Lee Jefries

description: Abstract This paper takes up the photographic work Lost Angels (2014), by Lee Jefries, which portraits people living on the streets in large urban centers, to think about how the effects of the structure in photographic image constitute a contingent relationship of alterity. Through these portraits of vulnerable people, Jeffries signs ways to summon the look articulated between the desired codification and the regularization of the aesthetic dimension. In this duality, the images are examined based on the possible repercussions of the modes of figuration that trigger a certain visual delight according to the ways in which the presence of people is called upon. We reflect on how documentary photography could offer visual operators in the topics of human portrait and what is its specific designation in these subjects’ exposures in a plastic and conversational perspective of the image.
DOI: 10.6084/m9.figshare.14327754.v1
title: Under the tremor of images: politics and direct action on the Xavante lens

description: Abstract This paper seeks to measure the use of indigenous audiovisual production as a strategic resource in the struggle for rights. We are interested in highlighting the determining presence of the camera as a recording device that oscillates as a political weapon, placing itself at the center of the conflict as an eyewitness. For this our analysis is based on two documentaries made by Xavante Divino Tserewahú. The first is the record of the direct confrontation between indigenous people of the Sangradouro community and police authorities of the municipality of Primavera do Leste, driven after the allegedly illegal arrest of a young man from the community. The second is a documentary about the 25th anniversary celebration of the Macuxi People’s struggle for the homologation of the Raposa Serra do Sol Indigenous Land, in Roraima.
DOI: 10.6084/m9.figshare.14327754
title: Under the tremor of images: politics and direct action on the Xavante lens

description: Abstract This paper seeks to measure the use of indigenous audiovisual production as a strategic resource in the struggle for rights. We are interested in highlighting the determining presence of the camera as a recording device that oscillates as a political weapon, placing itself at the center of the conflict as an eyewitness. For this our analysis is based on two documentaries made by Xavante Divino Tserewahú. The first is the record of the direct confrontation between indigenous people of the Sangradouro community and police authorities of the municipality of Primavera do Leste, driven after the allegedly illegal arrest of a young man from the community. The second is a documentary about the 25th anniversary celebration of the Macuxi People’s struggle for the homologation of the Raposa Serra do Sol Indigenous Land, in Roraima.