Universidade Tecnológica Federal Do Paraná Programa De Pós-Graduação Em Tecnologia

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Universidade Tecnológica Federal Do Paraná Programa De Pós-Graduação Em Tecnologia UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ PROGRAMA DE PÓS-GRADUAÇÃO EM TECNOLOGIA RAFAEL TOGO KUMOTO COLECIONANDO MÚSICAS COM UMA CÂMERA: MEDIAÇÕES AUDIOVISUAIS E HIPERMIDIÁTICAS NA PRODUÇÃO ARTÍSTICA DAS SESSIONS DO YOUTUBE DISSERTAÇÃO CURITIBA 2016 RAFAEL TOGO KUMOTO COLECIONANDO MÚSICAS COM UMA CÂMERA: MEDIAÇÕES AUDIOVISUAIS E HIPERMIDIÁTICAS NA PRODUÇÃO ARTÍSTICA DAS SESSIONS DO YOUTUBE Dissertação de mestrado apresentada ao Programa de Pós-Graduação em Tecnologia da Universidade Tecnológica Federal do Paraná como requisito parcial para obtenção do título de “Mestre em Tecnologia” – Área de concentração: Tecnologia e Sociedade. Orientadora: Prof.ª Dr.ª Luciana Martha Silveira CURITIBA 2016 Dados Internacionais de Catalogação na Publicação Kumoto, Rafael Togo K96p Colecionando músicas com uma câmera : mediações audiovi- 2016 suais e hipermidiáticas na produção artística das sessions do Youtube / Rafael Togo Kumoto.-- 2016. 213 f. : il. ; 30 cm. Texto em português, com resumo em inglês Dissertação (Mestrado) - Universidade Tecnológica Federal do Paraná. Programa de Pós-graduação em Tecnologia, Curitiba, 2016 Bibliografia: p. 185-206 1. YouTube (Recurso eletrônico). 2. Gravações de vídeo interativas. 3. Cantores. 4. Tecnologia - Dissertações. I. Silveira, Luciana Martha, orient. II. Universidade Tecnológica Federal do Paraná. Programa de Pós-Graduação em Tecnologia, inst. III. Título. CDD: Ed. 22 -- 600 Biblioteca Central da UTFPR, Câmpus Curitiba RESUMO KUMOTO, Rafael T. Colecionando músicas com uma câmera: mediações audiovisuais e hipermidiáticas na produção artística das sessions do YouTube. 2016. 213 f. Dissertação (Mestrado em Tecnologia) – Programa de Pós-Graduação em Tecnologia, Universidade Tecnológica Federal do Paraná. Curitiba, 2016. Neste trabalho, buscamos analisar uma série de processos de mediação imagética, auditiva e hipermidiática na produção videográfica das sessions, compreendida enquanto circuito de publicações de coletivos cadastrados na plataforma do website YouTube. Inspiradas em produções pioneiras como os Take Away Shows, do blog francês La Blogothèque, e as Black Cab Sessions, idealizadas pelo videasta britânico Jono Stevens, as sessions apresentam registros de performances musicais improvisadas em locais inusitados à prática musical, como monumentos públicos, cozinhas, salas de aula, metrôs, barcas e espaços de grande circulação de pessoas. Com base na premissa de que o vídeo, longe de representar um registro fiel da realidade, implica em processos de tradução e representação dos acontecimentos em imagens e sons – colocados em circulação, por sua vez, em plataformas voltadas à publicação e compartilhamento de vídeos –, desenvolvemos nossa argumentação em três momentos: primeiramente, por meio do estudo da percepção visual e auditiva, buscando nas teorias inferenciais de E.H. Gombrich a compreensão dos fenômenos de interpretação de emissões luminosas e modulações sonoras (constituintes da comunicação videográfica) enquanto processos ativos, baseados em nossas expectativas, vivências e visões de mundo. Em seguida, observamos o sistema no qual as sessions se inserem, por meio da exploração das diversas funcionalidades do YouTube que reforçam a sua condição de plataforma agregadora de conteúdo – apresentando também com maiores detalhes algumas das características mais recorrentes nos diversos perfis de produtores e produtoras do circuito observado. Em um terceiro momento, organizamos nossa análise com base em seus aspectos expressivos, de conteúdo e de participação e relevância, por meio da identificação de características consideradas importantes, tais como rastros de visualidades provenientes de outras mídias e linguagens artísticas, temáticas recorrentes de representação e perfis de participação dos coletivos. Com isso, podemos observar que, por trás da noção aparente de acaso, improviso e informalidade expressa pelas soluções adotadas na materialização das sessions, jaz uma estreita relação entre os distintos modos de performatizar, produzir e circular música comunicados nas cenas retratadas e os valores e visões de mundo daqueles(as) que participam em maior ou menor grau dos processos de negociação inerentes ao circuito – entre eles, bandas e artistas, videastas, operadores(as) de som, público espectador e entidades patrocinadoras. Palavras-chave: Vídeo. Música. Tecnologia. YouTube. Sessions. ABSTRACT KUMOTO, Rafael T. Collecting songs with a camera: hypermediatic and audiovisual mediations in the artistic production of YouTube’s sessions. 2016. 213 f. Dissertação (Mestrado em Tecnologia) – Programa de Pós-Graduação em Tecnologia, Universidade Tecnológica Federal do Paraná. Curitiba, 2016. In this work, we aim to analyze a range of imagery, auditory and hypermediatic mediation processes in the video production of the sessions, understood as a circuit of video publications on YouTube website. Inspired by early productions like french blog La Blogothèque’s Take Away Shows and the Black Cab Sessions, designed by British video maker Jono Stevens, the sessions present recordings of improvised, musical acts in places unusual to musical performance, like public monuments, kitchens, classrooms, subways, boats and high traffic areas. Based on the premise that video is far from portraying a faithful reproduction of reality, thus implying processes of translation and representation of events to images and sounds – moreover, implying their circulation on platforms focused on publishing and sharing videos –, our argument takes shape in three stages: first, through the study of visual and auditory perception, basing ourselves on E.H. Gombrich’s inferential theories to comprehend the phenomenon of interpreting light emissions and sound modulations (both constituents of videographic communication) as active processes, based on our expectations, experiences and view of things. Afterwards, we observe the system where the sessions are based on through the exploration of several YouTube features that reinforce its status as a content-aggregator platform; we also present in greater detail some recurring features shared by producers associated with the observed circuit. In a third step, we organize our analysis based on its aspects of expression, content and participation and relevance, by identifying some characteristics considered relevant, such as other media and artistic languages’ traces of visuality, recurring representation themes and participation profiles of the collectives. This way, we can argue that behind the apparent notion of chance, improvisation and informality expressed by the solutions adopted in the sessions’ materialization processes lies a close relationship between the different ways of performing, producing and circulating music communicated in the depicted scenes, and the values and views of things of those who participate in a greater or lesser degree of negotiation inherent to the circuit – including bands and artists, video makers, sound engineers, viewers and sponsoring entities. Keywords: Video. Music. Technology. YouTube. Sessions. LISTA DE FIGURAS Figura 1 - A página de uma Take Away Show no YouTube ...................................................................... 20 Figura 2 - A visualização de tela cheia e a inserção de comentários .......................................................... 21 Figura 3 - Diagrama esquemático do olho humano .................................................................................... 24 Figura 4 - A projeção da luz no olho e o processo de acomodação ............................................................ 25 Figura 5 - Diagrama esquemático do sistema auditivo ............................................................................... 26 Figura 6 - A propagação do som de um violoncelo, por faixas de frequência ............................................ 28 Figura 7 - O cantor francês M se apresenta para o Le HibOO ................................................................... 30 Figura 8 - A banda chinesa Hanggai se apresenta para o Amsterdam Acoustics ....................................... 31 Figura 9 - Dia e Noite, de M.C. Escher. Xilogravura sobre papel, 1938 .................................................... 32 Figura 10 - Eles não o esperavam, de Ilya Repin. Óleo sobre tela, 1884-88 .............................................. 34 Figura 11 - Os experimentos de busca visual de Alfred Yarbus ................................................................ 35 Figura 12 - Impressão, nascer do sol, de Claude Monet. Óleo sobre tela, 1872 ......................................... 37 Figura 13 - O filho pródigo de Albrecht Dürer. Xilogravura sobre papel, C. 1496 .................................... 39 Figura 14 - Fragmentos visuais dos músicos que acompanham a cantora Awa Ly para o Le HibOO ....... 40 Figura 15 - A apresentação da banda Gorillaz no clipe de Tomorrow Comes Today ................................ 43 Figura 16 - O grupo de rap De La Soul e a banda Gorillaz, no Grammy 2006 .......................................... 45 Figura 17 - A participação holográfica de Madonna com a banda Gorillaz, no Grammy 2006 ................. 45 Figura 18 - a representação gráfica de uma onda sonora e as suas 4 etapas distintas ................................. 49 Figura 19 - Sons de linha contínua e sons ditos "naturais" ......................................................................... 50 Figura 20 - Os brasileiros Thiago Pethit e Dom La Nena se apresentam para o La Blogothèque .............. 55 Figura 21 - Pintura rupestre
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