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O artigo relata em primeira mão, para a comunidade acadêmica de língua portuguesa, as origens, as teses e a fortuna da iniciativa que pretendeu criar uma ciência do jornalismo à época do regime fascista italiano. O estudo é histórico e analítico. A primeira seção contextualiza o assunto. A seguinte apresenta informações sobre seus antecedentes e formulações. Resumindo estudos sobre as ideias de Paolo Orano e Francesco Fattorello, a terceira e quarta seções mostram como a proposta de desenvolver a teoria supôs a história do jornalismo e os termos com que se estabeleceu o programa de estudos da sua ciência. A conclusão fornece indicações sobre como o conjunto do projeto foi abortado com a queda de Mussolini.

Este artigo brevemente apresenta a necessidade potencial de desenvolver uma extensão para os estudos de produção (intitulada aqui como estudos de software televisuais). Tal extensão engloba processos relacionados à gestão, integração e sincronização de desenvolvimento de software, que seriam executados por produtores de TV durante a produção dos programas televisivos para posterior fornecimento de companion apps pelas emissoras para sincronização de anúncios publicitários entre telas. É argumentado que, apesar de a alternativa complexificar a produção de TV, ela pode também minimizar o risco de que a distração da audiência durante suas materializações de experiências de múltiplas telas promova uma redução no patrocínio dos programas de TV.

The chaos caused by the road stoppage in Brazil in May 2018 has put in dispute forces that validate themselves in a mediatic enunciative scenario that use fear as a trigger to perpetuate themselves in the collective imagination. In this article we will emphasize the news about an institutional video produced in 2017 by the Federation of Freight Transportation Companies of the state of São Paulo (FETCESP), which supported part of the arguments of the Federal Government to defend the thesis that the stoppage was about a locaute, not a strike. The objective of this work is to analyze the media discourse around the video, whose ethos contributed to the conception of a scenography intended by the government, as opposed to the general strike scenario advocated by the unions. Bateson (1987), in interaction with the studies of the emotions of Damásio and Ekman, anchored in the semiology of Bakhtin (VOLOCHINÓV, 2017) are used as a theoretical contribution. The main theoretical framework for discourse analysis is that of the French school, in particular the scenography and ethos categories of Dominique Maingueneau (2008, 2008b, 2013). The research is exploratory, it is bibliographical, with a qualitative approach. The analysis of the information directs the partial results that the discursive ethos is supported in enunciative scenographies that elicits the fear to generate adherence to the dominant ideology, that Michael Taylor (2006) will call the ideology of the disconnection.

This article is part of the subfield of studies of Public Communication, in dialogue with the Language Sciences. From the distinctions between the Symbolic Order and the Order of the Imaginary, it seeks to reflect on the institutional communication of the Brazilian Supreme Court (Supremo Tribunal Federal) and TV channel owned by the Brazilian Judiciary Power (TV Justiça), investigating whether it is possible to combine the function of Justice with the function of entertainment and especially with the “Society of Spectacle” (according to Guy Debord). In the end, the article presents a brief diagnosis of the symptoms of maladjustment in the communication of the Judiciary Power in Brazil and proposes guidelines for it to be rethought.

This paper addresses the relations of Desiderio Navarro’s translational-editorial project with the introduction of Eastern Europe semiotic theories into the Latin America. Working as translator-critic-essayist and publisher, the Cuban scholar faced the challenge of confronting the hegemony of French and American semiotic theories with Russian contributions in order to disseminate the ideas of cultural semiotic. Navarro challenged geopolitical doxas and used his critical studies as an authentic semiotics of resistance. From his acquaintance with the semioticians of culture he established the foundations of semiotic thinking among Latin American scholars.

O artigo discorre sobre o trabalho artístico a partir dos conceitos de invenção de si e governamentalidade, analisados por Foucault, Veyne e Bennett. Nas racionalidades liberais, a vida é tomada como campo de governo e como capital. O artista investe sua vida, suas percepções e afetos na criação das obras. Mas esse interesse também pode conduzir a políticas identitárias. Para evitar que o campo se fragmente, as artes devem ser compreendidas, em suas relações de força e contingências históricas, como bens públicos e comuns, que manifestam, mais do que um capital, a potência humana de invenção. Contudo, transformar hábitos culturais é tarefa de longo prazo, que envolve o Estado, a iniciativa privada e a sociedade civil.

Este artigo discute e propõe a discussão, a partir de uma perspectiva comunicacional, das relações estratégicas e práticas entre a pesquisa e a meta-pesquisa da comunicação na América Latina. Para tanto, ressalta-se a importância da história como fator complementar essencial à estatística, bem como algumas reflexões controvertidas sobre postulados que parecem indispensáveis para rediscutir na comunidade acadêmica e perante os órgãos responsáveis pela avaliação e orientação da ciência.

Interview with Full Professor at the University of Minho, Moisés de Lemos Martins, PhD in Sociology at the University of Strasbourg, France, he is the founder and director of the only center of excellence in research in the areas of communication and cultural studies in Portugal, according to the evaluation of the Foundation for Science and Technology (FCT).

By associating processes of constitution of digital objects to the concept of gambiarra, we aim to uncover the modes of existence that render the gambiarra as a crucial operator in the relationship between techniques, bodies and society. The aesthetic, political, and cognitive dimensions of the concept form an alternative version of technicity that allows us to understand the complex and even paradoxical aspects of digital sociotechnical formations. The empirical demonstration of these ideas will take place in three levels: the redirection of capacities of processing in video game consoles and video cards; the reconfiguration of software and user interfaces; and the resulting invention of rhythms and ways of seeing, feeling and acting in video games.

The purpose of this article is to contribute to a dialectical, critical and Marxian understanding of the concept of engagement, hereby addressed and conceived as part of the totality. Our argument, based on non-systematic bibliographic research, starts dialectically from the hegemonic conception of engagement, confronting it from the perspective of totality against a view to overcoming it. The understanding of engagement we have developed enables us to mediate between the contemporary epistemological debate in communication sciences, with a focus on discussions on mediatized interactions, and Marxian philosophical and political theory.

The paper broaches the causes and consequences of transformations in the media and communication technologies, discussing if those responsible for such transformations can be held to account for how the digitally mediated environment is changing. Older communication technologies also brought questions on accountability. However, today, new questions arise on the subject in relation to artificial intelligence, algorithms, big data and machine learning. In the face of possible harms and risks of digital innovation, it advocates that, in order to guarantee benefits for the citizens, a broad debate should be held, as well as researches able to support anticipatory policy measures.

Editorial

This article reflects on the possible dialogues between communication, history and memory, having a letter dictated by a female slave in the 19th century as the corpus. Note that this document represents a symbolic dialogue between communication and history, being an act of communication between multiple individuals. It discusses the temporalities in communication and history, the narrative acts that both produce and the contemporary disintegration of links between past, present and future, noting that the historicity is governed today by media action. Finally, it addresses the problem of memory and its presence in the world of communication and history, reflecting on the oblivion related to slavery in Brazil.

The text aims to reconstruct the ways that Jesús Martín-Barbero problematizes the links among culture, citizenship and technicity, reflecting about his contribution to the contemporary research dedicated to this problematic. In the researcher’s reflection, the culture field, in their imbrications with the technicity, is conceived as a crucial space of constitution of social conflictivity and of emergency of new citizenship figures. The technicity operates as a structural dimension of these processes, in complex and multidimensional sociocultural articulations. His proposals continue to offer productive bases for thinking about these issues and also invite us to consider other aspects that emerge in today's digital environments and cultures.

Digital democracy initiatives are the product of interaction between society’s expectations, governmental priorities, governors’ preferences, legal obligation and technological viability. This research evaluated how digital democracy initiatives held by federal government took place in 2017. We identified 119 working initiatives. Considering this total, 47.1% had as its main goal the promotion of public transparency, 23.5% tried to offer information and opportunities for people education for citizenship and 5.9% provided information and means for access to justice system. There were no initiatives to promote public deliberation.

Este artigo aborda a distinção entre semiologias significantes e semióticas assignificantes, concebida por Félix Guattari e retomada por Maurizio Lazzarato no escopo de uma crítica dos modos contemporâneos de produção capitalista. Para o italiano, investigar o nível significante não apenas é insuficiente como ajuda a dissimular a eficácia maquínica do nível assignificante. Reconhecendo nisso um problema epistemológico, discutimos a importância de considerar articulações entre esses níveis, sob pena de manter-se o assignificante aquém do conhecível. Em um exercício comparativo, sugerimos que a atitude laboratorial de Paul B. Preciado fornece rota profícua para a investigação e a tradução de operações assignificantes específicas.

O presente texto procura fazer uma síntese da perspectiva que defendemos para a análise das relações entre comunicação, cultura e subjetividade. Trata-se, nos três âmbitos, de evitar o que nomeamos de paradigma epocalista, em favor de abordagens localizadas e atentas às diferenças. Nossa perspectiva envolve, em primeiro lugar, evitar uma visão classificatória das subjetividades. Além disso, evita-se a redução da história das culturas a uma sucessão linear de épocas. Finalmente, evita-se, do mesmo modo, tanto o determinismo tecnológico quanto a ideia de um usuário onipotente, o que implica considerar tanto as agências das tecnologias quanto as ações dos usuários tomados individual ou coletivamente.

Para além do leitor de livro, o século XX viu nascer um novo tipo de leitor de imagens na foto, na publicidade e no cinema: o leitor movente. Então, com o surgimento da internet emergiu o leitor imersivo, que navega e interage nas infovias dos ambientes da web. A seguir, o advento das mídias móveis trouxe consigo o leitor ubíquo, aquele que tem acesso à informação em qualquer lugar onde possa estar. Diante desse quadro sequencial e plural, este artigo propõe a necessidade de manter nos ambientes educacionais as habilidades cognitivas do leitor de livro, aqui chamado de contemplativo, na medida em que o livro, dentre todas as mídias, funciona como uma prótese para o desenvolvimento da capacidade reflexiva.

The paper discuss the modes of alterity evidenced by the structural elements of Ossos (1997), No quarto da Vanda (2000) and Juventude em marcha (2006), directed by Pedro Costa. In describing and analyzing the film forms chosen to construct bridges between the bodies, valuing the constant exposure to the other, we try to present how the cinema of Costa constitutes a community intrinsic to the expropriation. The article chooses a comparative bias between Costa’s films and those of filmmakers who influenced him, such as John Ford and Yasujiro Ozu, in addition to the brief reference to works by Van Gogh and Courbet, artists who share visual motives and, we believe, a common social sensitivity to the director.