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Camila Schafer UNIVERSIDADE DO VALE DO RIO DOS SINOS (UNISINOS) PROGRAMA DE PÓS-GRADUAÇÃO EM CIÊNCIAS DA COMUNICAÇÃO (PPGCC) NÍVEL MESTRADO CAMILA SCHÄFER ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC SÃO LEOPOLDO Março de 2014 Camila Schäfer ENTRE O NOVO E O OBSOLETO: MEMÓRIA, RASTROS E AURA DO HARDWARE NA CHIPMUSIC Dissertação apresentada como requisito parcial para a obtenção do título de Mestre , pelo Programa de Pós- Graduação em Ciências da Comunicação da Universidade do Vale do Rio dos Sinos – UNISINOS. Área de concentração: Processos Midiáticos. Linha de Pesquisa: Mídias e Processos Audiovisuais. Orientador: Profª. Drª. Suzana Kilpp São Leopoldo Março de 2014 S296e Schäfer, Camila Entre o novo e o obsoleto: memória, rastros e aura do hardware na Chipmusic/ por Camila Schäfer. -- São Leopoldo, 2014. 136 f.: il. color; 30 cm. Dissertação (mestrado) – Universidade do Vale do Rio dos Sinos, Programa de Pós-Graduação em Ciências da Comunicação, São Leopoldo, RS, 2014. Área de concentração: Processos midiáticos. Linha de Pesquisa: Mídias e processos audiovisuais. Orientação: Profª. Drª. Suzana Kilpp, Escola da Indústria Criativa. 1.Videogames – Sonoplastia. 2.Jogos eletrônicos – Sonoplastia. 3.Som – Registro e reprodução – Técnicas digitais. 4.Computador – Música. 5.Hardware. I.Kilpp, Suzana. II.Título. CDU 004:794 004.4'277.4:794 Catalogação na publicação: Bibliotecária Carla Maria Goulart de Moraes – CRB 10/1252 AGRADECIMENTOS Como a maioria dos textos de agradecimento, inicio este reafirmando o que muitos outros já disseram: nenhuma pesquisa se constrói sozinha, assim como nenhum pesquisador realiza seu trabalho e se desenvolve sem a contribuição de outras pessoas. Então, sem muitas voltas, vamos aos meus agradecimentos: - Primeiramente a Deus. - Em segundo lugar à minha mãe, por ter segurado a “barra” nesses dois anos em que eu mal tive tempo para um chimarrão com ela no fim da tarde; por fazer a janta todas as noites, com a televisão no volume mínimo e bem quietinha, só pra não atrapalhar meus estudos; por escutar minhas preocupações ainda que não conhecesse minha pesquisa; por ter tentado me aconselhar mesmo assim; por entender que durante esses dois anos eu teria pouco tempo para ela; e, finalmente, por ser a melhor mãe do mundo! - À minha irmã Carine, ao meu namorado Guilherme, aos familiares e amigos que compreenderam minha falta de tempo para sair; para passear de bicicleta; para ir ao cinema; para a comemoração de aniversário; para tomar chimarrão e jogar conversa fora; para assistir aquela série ou filme tão legal; para a janta de sábado; para o churrasco de domingo; e que muitas vezes me ouviram falando na dissertação e nessa tal de chipmusic - muitos ainda dizem que estudo música de videogames (risos). - Ao (agora doutor!) Tiago Ricciardi Correa Lopes, meu orientador no TCC, por ter me incentivado a fazer o mestrado; por ter sido coautor em alguns artigos; e pelo auxílio em vários momentos antes e durante o curso. - À minha orientadora Suzana Kilpp, pela paciência; por ter incitado várias dúvidas em mim que reforçaram a pesquisa; e pelas ótimas contribuições. - Aos colegas do mestrado, pelas sugestões dadas em aula (com certeza tem um pouquinho de cada um de vocês nesta dissertação); pelas contribuições também nos encontros fora de aula - acho que o mestrado devia corresponder a 70% do assunto das conversas nesses encontros (risos); e, finalmente, pela amizade, que levarei para o resto da vida. - Ao Grupo de Pesquisa Audiovisualidades e Tecnocultura: Comunicação, Memória e Design (TCAv) pelas contribuições nas reuniões. - À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), pelo apoio financeiro, que com certeza foi mais que essencial para mim. A todos vocês, meus mais sinceros agradecimentos! Eis um problema filosófico. Não o escolhemos, nós o encontramos. Ele nos barra a via e, desde então, é preciso afastar o obstáculo ou deixar de filosofar. Henri Bergson RESUMO Esta pesquisa toma como objeto de estudo a cena chipmusic , considerando-a como uma atualização da virtualidade hardware . Para isso, vale-se da visada tecnocultural, uma forma de pensar culturalmente as tecnologias e de entender as propriedades tecnológicas em ação na cultura, que tem como foco desnaturalizar o olhar do pesquisador. O objetivo é identificar como e por que o hardware dura nos mais diferentes produtos desta cena, seja nas capas dos álbuns, nas músicas gravadas, nos sites ou nos vídeos reproduzidos nas apresentações ao vivo. Para analisar estes empíricos foram realizadas entrevistas e utilizados os métodos da intuição, da cartografia e da dissecação, procedimentos que mostraram que os produtos da chipmusic incorporam rastros dos hardwares de determinado estágio da técnica, que é ligeiramente anterior à cultura do software . Esses rastros também têm relação com microculturas contemporâneas (hacker , gamer , retrô) que atravessam e que são referência para a cena, além de acionarem imagens-lembrança que, por sua vez, fazem parte da memória dos equipamentos, das microculturas e do estágio da técnica que hoje são resgatados na chipmusic . Dessa forma, chega-se à constatação de que o hardware pode ser pensado como uma virtualidade que perpassa a sociedade e a cultura, atualizando-se não só nos equipamentos a, b ou c, mas também em manifestações culturais diversas. As ações dos usuários da chipmusic, portanto, são uma forma de garantir o protagonismo cultural e a aura dos hardwares dentro de uma época histórica em que os softwares se fazem cada vez mais presentes e a obsolescência cada vez mais veloz. Palavras-chave: Chipmusic . Hardware . Rastro. Aura. Memória. ABSTRACT This research takes as its object of study the chipmusic scene, considering it as an update of hardware virtuality. For this, it used the technocultural offeree, a way of thinking technologies culturally and understand the technological properties in action in culture, which focuses deconstruct the look of the researcher. The objective is to identify how and why the hardware lasts in different products in this scene, for example, in the album covers, in the songs recorded, on the websites or in videos played in live performances. To analyze these empirical were conducted interviews and used the methods intuition, mapping and dissection, procedures that showed that the products of chipmusic incorporate traces of hardware given stage of the technique, which is slightly earlier than the culture of software. These traces are also related to contemporary microcultures (hacker, gamer, retro) that crosses and are reference for the scene, in addition to trigger images-reminder that, in turn, are part of the memory that equipment, the microcultures and technique stage that today are rescued in chipmusic. Thus, one comes to the realization that the hardware can be thought of as a virtuality that permeates society and culture, it not only upgrading equipment in a, b or c, but also in various cultural events. The actions of chipmusic users therefore are a way to ensure cultural prominence and aura of hardware at a historic time when the software are made increasingly present and increasingly rapid obsolescence. Keywords: Chipmusic. Hardware. Trace. Aura. Memory. LISTA DE ILUSTRAÇÕES Figura 1: Exemplo de circuit bending : teclado musical é ligado a um joystick do console Atari 2600 e a um Speak & Math, brinquedo utilizado para ensinar matemática às crianças. ............................................................................................................................................. 16 Figura 2: Lomografia: exemplos de câmeras e fotos. ......................................................... 17 Figura 3: O GameBoy é um dos equipamentos mais utilizados na chipmusic . .................. 32 Figura 4: Famicom, lançado em 1983 e, ao lado, o Nintendo Entertainment System, lançado em 1985. ................................................................................................................. 32 Figura 5: Commodore 64, lançado em 1982. ..................................................................... 32 Figura 6: Exemplo de ASCII art . ........................................................................................ 41 Figura 7: Exemplo de pixelart . ........................................................................................... 41 Figura 8 : Jogo Bit.Trip Runner, que possui pixels bem destacados e trilha chiptune . ....... 68 Figura 9: Jogo Minecraft, onde o jogador pode construir mundos utilizando apenas blocos. ............................................................................................................................................. 69 Figura 10: Jogo Pega Pixel, desenvolvido pela loja Imaginarium para o Facebook. ......... 69 Figura 11: Jogo Game of Thrones 8-bits, criado por Abel Alves. ..................................... 70 Figura 12: Capas dos álbuns Cheap pills for chip thrills (Pulselooper), Molen (Gijs Gieskes), Pixeled human being (The The Thes) e Two warriors (Coova and Little-Scale). ............................................................................................................................................. 86 Figura 13: Fotografia tirada com a GameBoy Câmera. ..................................................... 88 Figura 14: Coletânea The 8bits of christmas . ..................................................................... 89 Figura 15: Capa do álbum ZX Spectrum is Alive . ............................................................... 90 Figura 16:
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