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Au cours de son histoire, la salle de cinéma s’est érigée à partir d’une politique d’épuration sensorielle, elle-même héritée d’une longue tradition, faisant de l’expérience spectatorielle cinématographique une expérience de contemplation purement audiovisuelle. Cependant, lorsqu’elle traverse une période de crise, tant économique qu’intermédiale, la salle de cinéma renoue avec un modèle attractionnel, polysensoriel et plus particulièrement tactile, lié au cinéma des origines et à ses premiers lieux de diffusion, mais réprimé lors de l’institutionnalisation du média et de sa stabilisation dans la salle consacrée. Aux États-Unis, c’est notamment le cas autour de 1930, au moment de l’arrivée du cinéma parlant et de la Grande Dépression, de même qu’au cours des années 1950, alors qu’une importante compétition intermédiale liée à l’arrivée de la télévision et couplée à des changements démographiques majeurs affecte les exploitants de salles. C’est de nouveau le cas depuis les années 2000, la déferlante numérique et les possibilités de visionnement à domicile arrachant de plus en plus de spectateurs aux salles. Cette thèse propose l’examen approfondi d’une période et d’un cas exemplaires. Elle analyse précisément le moment où les salles américaines connaissent une baisse de fréquentation majeure au cours des années 1950. Pendant cette période apparaissent plusieurs technologies audiovisuelles, mais également de nombreux gimmicks polysensoriels. Or, ces derniers ne sont qu’une version radicale et matérialisée d’idéaux attractionnels portés par les producteurs et l’industrie cinématographique de l’époque aux États-Unis, ce que démontre l’étude du gimmick tactile Percepto, développé en 1959 par le cinéaste William Castle pour accompagner son film The Tingler. Bien au-delà du simple gadget promotionnel, le dispositif Percepto fait vibrer les sièges et hurler les spectateurs, les sollicitant par une sensation physique directe censée prolonger l’univers du film à même la salle de cinéma. Cette expérience cinématographique singulière valorise en outre le caractère à la fois collectif et participatif du visionnement en salle. À la jonction de plusieurs champs théoriques, soit l’histoire culturelle des sens, l’archéologie des médias et les études de diffusion, cette thèse cherche à mettre au jour le rôle majeur des sens pourtant dits « mineurs », notamment celui du toucher, dans l’histoire de la salle de cinéma américaine, et à resituer la tactilité dans les origines attractionnelles du cinéma, en démontrant de quelle manière le corps du spectateur est, par le biais de stratégies polysensorielles, de nouveau inclus dans l’expérience du cinéma, alors qu’il en est traditionnellement exclu. Par ailleurs, elle vise à réinscrire les gimmicks au sein de l’historiographie du cinéma en général et de celle des salles en particulier, tout en faisant découvrir un dispositif cinématographique tactile jusqu’ici généralement méconnu et oublié par la recherche savante : Percepto. Pour ce faire, la thèse s’appuie sur plusieurs sources de première main et propose l’analyse des éléments suivants : le film The Tingler, le fonctionnement du gimmick, les publicités produites autour du dispositif, son apparition en salles, ainsi que sa réception critique et populaire., Throughout its history, the movie theater has emerged from politics of sensory purification inherited from a long tradition, making the cinematographic spectatorial experience one of a purely audiovisual contemplation. When going through a period of crisis, be it economic or intermedial, the movie theater reconnects with an attractional, multi-sensory and mainly tactile model linked to the origins of cinema and to its first exhibition spaces, but repressed at the time of the institutionalization of the media and its stabilization in the dedicated theater. In the United States, this is notably the case around 1930 with the arrival of talking pictures and the Great Depression, as well as during the 1950s when significant intermedial competition resulting from the advent of television, coupled with major demographic shifts, affects theater exhibition. This has also been the case since the early 2000s, when the digital surge and the possibilities of home viewing have torn more and more spectators away from theaters. This thesis offers an in-depth examination of an exemplary period and case. It analyzes precisely when American theaters experienced a major drop in attendance during the 1950s. During this period, several audiovisual technologies appeared, along with many multi-sensory gimmicks. However, the latter are only a radical and materialized version of ideals of attractions carried by the producers and the film industry of the time in the United States, as demonstrated by the study of the Percepto tactile gimmick, developed in 1959 by filmmaker William Castle to complement his film The Tingler. Far beyond a simple promotional gadget, the Percepto device makes the seats vibrate and the audience scream, addressing the spectators with a direct physical sensation supposed to extend the fictional world of the film right into the theater. This unique cinematographic experience also underlines both the collective and participatory qualities of theatrical viewing. At the junction of several theoretical fields, namely the cultural history of the senses, media archeology and exhibition studies, this thesis seeks to bring to light the major role of the so-called “minor” senses, in particular that of the touch, in the history of the American cinema, and to restore tactility in relation to the attractional origins of cinema, by demonstrating how the spectator's body is, through multisensory strategies, included again in the experience of cinema although it is traditionally excluded. In addition, it aims to re-establish gimmicks within the historiography of cinema as a whole and that of movie theaters in particular while revealing a tactile cinematographic device largely unknown and forgotten by scholarly research to this day: Percepto. To achieve this, the thesis offers the analysis of the following aspects, based on several primary sources: the film The Tingler, the functioning of the gimmick, the advertisements produced around the device, its theatrical release and exploitation as well as its critical and popular reception., Pour respecter les droits d'auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives.

This article is divided into two parts. The first part analyzes Spanish reception ofpragmatism according to William James’ version in authors such as Eugenio d’Ors, Miguel de Unamuno and José Ortega y Gasset. The second one focuses on a critical comparison between Zubiri’s and Peirce’s philosophies starting from their definition of man. In that context, some meaningful analogies come up: the use of the concept of «precisive», the reference to Basque language and its relationship with a new Logic, the anti-Cartesian attitude, the mediated characterof «percept» and the role which the «Unreal» takes in their concept of experience and knowledge. El presente artículo está dividido en dos partes. La primera analiza la recepción española del pragmatismo de acuerdo con la versión de William James en autores como Eugenio d’Ors, Miguel de Unamuno y José Ortega y Gasset. La segunda está dedicada a una confrontación crítica entre las filosofías de Zubiri y de Peirce a partir de su definición de hombre. En semejante contexto, salen a luzalgunas significativas analogías: el empleo del concepto de «precisivo», la referencia a la lengua vasca y su relación con una lógica nueva, la actitud anticartesiana, el carácter mediato del «percepto» y el papel que juega lo irreal en su concepto de experiencia y de saber.

Baseando-se na repartição da "consciência" feita por Tolman, Engelmann chama uma de consciência-imediata, a parte individual e presente, e outra de consciência-mediata, a parte restante. Engelmann subdivide a consciência-mediata em consciência-mediata-do-observador, individual mas passada, e consciência-mediata-de-outros. Engelmann apresenta ainda mais três teorias aparentadas: a teoria das oito hipóteses básicas, nome dado às primeiras hipóteses que partem da consciência-imediata e terminam na consciência-mediata-de-outros; a teoria dos indicadores de consciência, em número bem maior que o simples relato verbal; e a teoria dos cinco escalões de percepto, nome dado às diversas atitudes que um ser humano é capaz de exercer ante um percepção consciente. Based on Tolman's "consciousness" partition, Engelmann call the two by the same noun qualified by different adjectives: the individual and present immediate-consciousness, and the remaining mediate-consciousness. According to Engelmann, this remaining consciousness can be parted again in an individual but past observer's-mediate-consciousness and an other's-mediate-consciousness. Three more related theories are presented by Engelmann: the eight basic hypotheses theory, name given to the first hypotheses that conduct someone to leave immediate-consciousness and arrive at the other's-mediate-consciousness; the consciousness indicators theory, a name that comprehends the verbal report; and the five percept echelon's theory, name given to conscious perception attitude in human beings.

Serguei Loznitsa, jeune réalisateur russe, tourne en 2004 Fabrika sur un kombinat vétuste, composé d’une fonderie et d’une briqueterie. La richesse stylistique du film ouvre la porte à des lectures multiples. La plus évidente : un documentaire sur la douleur et les dangers du travail. Mais le film se lit aussi comme une métaphore tragique sur la condition humaine condamnée au supplice de Sisyphe. Le sujet principal de l’auteur reste pourtant ce kombinat, délabré, héritage de la période soviétique, et le spectacle des travailleurs écrasés, réduits en poussière à la fin du film. L’objet de cet article : l’écriture cinématographique expose une pensée abstraite avec des signifiants iconiques et sonores, comme l’écriture alphabétique le fait avec des signifiants verbaux. In 2004, a young Russian director, Serguei Loznitsa, made a film called Fabrika using a decrepit kombinat factory that had been a combination steelworks and brickyard. The film’s sumptuous style lends itself to a multitude of analyses. The most straightforward one is that this documentary talks about the difficulties and dangers inherent to this kind of work environment. But the film might also be viewed as a tragic metaphor about the human condition, assimilated with a Sisyphian calvary. At the same time, the author’s main subject remains this rundown kombinat, a legacy of the Soviet period, with the end of the film portraying workers who have been broken down and reduced dust. The idea behind this article is that cinematographic signatures can communicate abstract thinking via iconic and sound signifiers, much in the same way as alphabetic signatures use verbal signifiers. En 2004, Serguei Loznitsa, joven cineasta ruso, filmó Fabrika en un vetusto kombinat compuesto de una fundición y una ladrillera. La riqueza estilística de la película da cabida a varias lecturas posibles. La más evidente es que se trata de un documental sobre el dolor y los peligros del trabajo. Ahora bien, la película también puede leerse como una metáfora trágica sobre la condición himana condenada al suplicio de Sísifo. Sin embargo, el tema principal del autor es ese kombinat destartalado, herencia de la época soviética y el espectáculo de los trabajadores aplastados, convertidos en polvo al final de la película. La tesis de este artículo: la escritura cinematográfica expone un pensamiento abstracto a través de significantes icónicos y sonoros, de la misma manera que lo hace la escritura alfabética a través de significantes verbales.

Submitted by Boris Flegr (boris@uerj.br) on 2021-01-06T19:54:01Z No. of bitstreams: 1 Luame Dissertacao.pdf: 401597 bytes, checksum: 65b71bb944fd2c30e4ef88ce57479542 (MD5) Made available in DSpace on 2021-01-06T19:54:01Z (GMT). No. of bitstreams: 1 Luame Dissertacao.pdf: 401597 bytes, checksum: 65b71bb944fd2c30e4ef88ce57479542 (MD5) Previous issue date: 2010-11-19 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Deleuze presents a totally new way of thinking about art, considering it as a mode of thought in itself. Along with science and philosophy, art is also an expression of thought, though each one of these is irreducible and produces itself necessarily by its own means. Above all, art is the establishment of sensations, i. e., as long as this last term has nothing to do with the cognitive correspondence between subject and object. Now, because of art´s excessive nature, no perception, personal memory, subjective state or feeling are able to produce it or achieve it, either as cause or effect. It is required to art to be able to sustain itself regardless of any creator, spectator or model. Thus, as a block of percepts and affects, art has not the function of representing the world or actualizing some preexistent thing, rather it creates possibles . The aesthetic plan of composition is autonomous; involves a vibrating or excitation condition without its motor, organic extension. Indeed, opening up to the Outside (an immanent field of forces) determines the artistic individuation, and exposes the essentially inhuman character of art and its development in nature, which starts precisely with the urgent qualitative and non-functional territorial cutting that the animal can perform. Therefore, free from all organicity, motricity and personal affairs, the artist ultimately creates singularities that don´t fit in the field of understanding and recognition, always funding a new way of thinking. When one gets rid of representations, the will to truth is abandoned to let another will become the master of the spirit the will to power. This is the actual meaning of the establishment of sensation: to raise false to its highest degree of power. Deleuze apresenta-nos uma maneira inédita de pensar a arte, tomando-a ela própria como um modo de pensamento. Ao lado da ciência e da filosofia, a arte também consiste em uma expressão do pensamento, ainda que cada qual seja irredutível e se produza necessariamente com seus próprios meios. Sobretudo, a arte é instauração de sensações, isto é, na medida em que este último termo nada tem a ver com a correspondência cognitiva entre sujeito e objeto. Ora, pela natureza excessiva da arte, nenhuma percepção, memória pessoal e nenhum estado subjetivo ou sentimento são capazes de produzi-la ou alcançá-la, quer como causa, quer como efeito. Exige-se que a arte seja capaz de se sustentar sozinha, independentemente de todo criador, espectador ou modelo. Dessa maneira, enquanto bloco de perceptos e afectos, a arte não tem por função representar o mundo ou atualizar algo preexistente, antes, cria possíveis. O plano de composição estético é autônomo e implica uma condição de vibração ou excitação da sensação, sem seu prolongamento motor, orgânico. Abrir-se ao Fora, campo imanente de forças, é condição da individuação artística, explicitando o caráter essencialmente inumano da arte e seu desenvolvimento presente na natureza, começando mais precisamente com a urgência qualitativa e não-funcional do recorte territorial que o animal pode fazer. Assim, livre de toda organicidade, motricidade e pessoalidade, o artista acaba por criar singularidades que não cabem no campo do entendimento e do reconhecimento, fundando sempre uma nova maneira de pensar. Vendo-se livre da representação, abandona-se a vontade de verdade e uma outra vontade se torna soberana no espírito a vontade de potência. Eis o sentido mesmo da instauração das sensações: elevar o falso à enésima potência.

Based on Tolman's "consciousness" partition, Engelmann call the two by the same noun qualified by different adjectives: the individual and present immediate-consciousness, and the remaining mediate-consciousness. According to Engelmann, this remaining consciousness can be parted again in an individual but past observer's-mediate-consciousness and an other's-mediate-consciousness. Three more related theories are presented by Engelmann: the eight basic hypotheses theory, name given to the first hypotheses that conduct someone to leave immediate-consciousness and arrive at the other's-mediate-consciousness; the consciousness indicators theory, a name that comprehends the verbal report; and the five percept echelon's theory, name given to conscious perception attitude in human beings. Baseando-se na repartição da "consciência" feita por Tolman, Engelmann chama uma de consciência-imediata, a parte individual e presente, e outra de consciência-mediata, a parte restante. Engelmann subdivide a consciência-mediata em consciência-mediata-do-observador, individual mas passada, e consciência-mediata-de-outros. Engelmann apresenta ainda mais três teorias aparentadas: a teoria das oito hipóteses básicas, nome dado às primeiras hipóteses que partem da consciência-imediata e terminam na consciência-mediata-de-outros; a teoria dos indicadores de consciência, em número bem maior que o simples relato verbal; e a teoria dos cinco escalões de percepto, nome dado às diversas atitudes que um ser humano é capaz de exercer ante um percepção consciente.

Este artigo visa apresentar uma visão global da antropologia cognitiva. A exposição põe em foco os planos da cognição e os dinamismos socioculturais que lhes são subjacentes. Propõe-se a divisão que se segue. 1) Plano da representação perceptual, em que se analisam a imagem e o percepto. 2) Plano da linguagem, em que de discute o papel da linguagem na construção do conhecimento, tanto no aspecto estrutural quanto no que diz respeito aos tropos da retórica, como a metáfora, a sinédoque e a metonímia. 3) Plano dos símbolos, dando ênfase às noções de símbolo dominante e key symbol. 4) Plano das práticas, compreendendo a discussão entre outros, de schema, script, ritos, tarefas e planos de vida. 5) Plano das categorias mentais, em que se aborda os critérios de classificação das cores, classificações etnobotânicas e etnozoológicas, assim como das doenças e das emoções. 6) Plano das formas superiores do conhecimento: códigos institucionais, mito, cosmovisão, estruturas lógicas do pensamento. As unidades de análise são tidas por variáveis operacionais; não lhes é atribuído valor existencial. O entrosamento e hierarquia dos planos são objetos de debate. This paper aims at presenting a general view of cognitive anthropology. It is focussed on the levels of cognition and sociocultural dynamics underlying them. A division of levels is proposed as follows. 1) Level of perceptual representation, analysing images and percepts. 2) Level of language, discussing the role of language in the construction of knowledge; structural aspect are considered, as well as rethorical tropes such as metaphor, synecdoche and metonimy. 3) Level Level of symbols, emphasising the notions of dominant symbols and key symbols. 4) Level of practices, comprising discussion of schema, script, rite, task and life plan, among others. 5) Level of mental categories, an approach to the problems of color classification, ethnobotany, ethnozoology, as well as classifications of diseases and emotions. 6) Level of superior forms of knowledge: institutional codes, myths, world views, logical structures of thought. Unities of analysis are used as operational variables, no existential value is attached to them. Articulation and hierarchy of levels are open to discussion.