Criação Audiovisual como Produção Alternativa na “Sociedade do Cansaço”

Análise do Ciclo “Música Virtual”

Abstract

The technological and social conditions for music production have always been highly variable depending on the time and local cultures. In this constantly transforming world, we have reached, according to Han, a stage of saturation that directly affects composers through a syndrome of hyperactivity and the obsession of optimizing individual performance. At this recent stage, distribution has been the main component affected, with the obsolescence of traditional means of musical transmission, including the CD, which has been gradually replaced by the streaming. This model excludes classical composers from the production model both due to the impossibility of reaching their audience and the lack of financial return. In this panorama, music-video, a genre that emerged in 1980s’ pop culture, survives as a viable alternative to house today’s experimental production, distributed on platforms such as YouTube. In this paper, we analyze a cycle of three original experimental productions in the music-video genre, which use different strategies for the articulation of sound and image. We resorted to Cook's theory to demonstrate what these models are, and we postulate that our line of research revisits pioneering characteristics of Norman McLaren's work, which began in the 1940s. Two products from this cycle were created in collaboration with visual artists, but in the third, both video and music were generated by the author. The soundtrack was composed with a digital computer running the Csound program as the main generating sound source. This study also analyzes some issues of syntax and diegesis in these videos.