Submitted by Fernando Souza (fernando@biblioteca.ufpb.br) on 2017-10-03T11:30:25Z No. of bitstreams: 1 arquivototal.pdf: 4430244 bytes, checksum: ce5c9eabd6064c768a0b4bffe3b1bb81 (MD5) / Made available in DSpace on 2017-10-03T11:30:25Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4430244 bytes, checksum: ce5c9eabd6064c768a0b4bffe3b1bb81 (MD5) Previous issue date: 2017-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The swedish audiovisual project iamamiwhoami is a phenomenon that arises from cyberculture. Through the tools and resources provided by the internet, it's entire narrative consists on videoclips. Its particularities are presented from the logic of production and dissemination of content, moving through new modalities of live performances, to the peculiar relationship with its audience that, although restricted, is engaged and intensely involved with the project. Raising the concepts that emerge from the context of cyberculture and its current laws, we study iamamiwhoami as a phenomenon that is born and develops itself according to this fully digital environment, being capable of bring together interactional practices from the general connectivity between computers, resulting in singular forms of producing music and entering the music industry. Applying a case study, we collect data regarding the trajectory of the audiovisual project, relating the phenomenon in the context of cyberculture and reporting the events inherent to the band's biography in order to understand, through exploratory and explanatory research, its presence from a promising scenario for independent artists. For this, we analyze the phenomenon relating its media actions to the three laws of cyberculture pointed out by André Lemos (2003) based on the concepts studied by Pierre Lévy (1999). We have the intention of presenting a phenomenom that is born and develops itself on the internet - aiming at different forms of interaction with fandom and working on regular album and live performance formats - in order to view the possibilities of new narratives and performances that arise from the social reconfigurations provided by cyberculture, which has been considerably transforming the musical and audiovisual productions. / O projeto audiovisual sueco iamamiwhoami é um fenômeno que surge a partir da cibercultura. Através de ferramentas e recursos proporcionados pela internet, toda a sua narrativa é constituída por videoclipes. Suas particularidades se apresentam desde a lógica de produção e disseminação de conteúdo, transitando por novas modalidades de performances ao vivo, até o relacionamento peculiar com seu público que, apesar de restrito, é engajado e intensamente envolvido com o projeto. Levantando os conceitos que emergem do contexto da cibercultura e suas leis vigentes, encaramos iamamiwhoami como um fenômeno que nasce e se desenvolve de acordo com esta ambiência, inteiramente digital, capaz de reunir práticas interacionais a partir da conectividade geral entre computadores, resultando em formas singulares de produzir música e se inserir na indústria fonográfica. Aplicando um estudo de caso, recolhemos dados no que diz respeito à trajetória do projeto audiovisual, situando o fenômeno no contexto da cibercultura e relatando os acontecimentos inerentes à biografia da banda para compreendermos, através de uma pesquisa explorativa e explicativa, sua construção de presença a partir de um cenário promissor para artistas independentes. Para isto, analisamos o fenômeno relacionando suas ações midiáticas às três leis da cibercultura apontadas por André Lemos (2003) com base nos conceitos abordados Pierre Lévy (1999). Nutrimos, dessa forma, o intuito de apresentar um fenômeno que nasce e se desenvolve na internet - visando diferentes formas de interação com o fandom e tencionando formatos já convencionados pelo cenário musical de álbum e performance ao vivo - com a finalidade de enxergarmos as possibilidades narrativas e performáticas que surgem a partir das reconfigurações proporcionadas pela cibercultura, que vem transformando consideravelmente as produções voltadas para o ramo musical.

Syftet med uppsatsen är att undersöka hur skogen kan användas för att gestalta en bild avidentiteten. För att göra det analyseras musikvideor av Fever Ray och Iamamiwhoami.Gestaltningen består av två noveller. I dessa undersöks relationen till skogen på ettmer individuellt plan. Metoden är mer sökande än teoretiserande. Uppsatsen analyserarmusikvideor ur ett genusperspektiv, som bilder och metaforer. Teoretiker som används ärbland annat Jean Baudrillard, Timothy Morton och Judith Butler. Från deras teorier undersöksvilka värderingar och antaganden som kan sägas ligga till grund för representationen avidentiteten och skogen. Resultatet är bilden av en värld som är splittrad och ovillig att kommatill konkreta ståndpunkter. Å ena sidan visar musikvideorna individer som arbetar medkulturellt betingade bilder av genus och skogen och försöker göra dem till sina egna. Å andrasidan syns en vilja att röra sig bort från dem. Likaså porträtterar gestaltningen personer somkämpar för att komma tillrätta med sin plats i den givna ordningen men aldrig riktigt lyckas. / The purpose of this essay is to investigate how the forest can be used to mirror the identity. Indoing so, music videos by Fever Ray and Iamamiwhoami are being analyzed. The portrayalconsists of two short stories. In these, the relation to the forest is investigated on a moreindividual level. The method is more searching than theorizing. The essay analyzes musicvideos, with a gender perspective, as images and metaphors. Theorists used are amongothers Jean Baudrillard, Timothy Morton and Judith Butler. From their theories the thesisinvestigates the values and assumptions that can be said to constitute the representation of theforest and the identity in the videos. The result is the image of a fragmented world, unwillingto come to concrete conclusions. On one hand the music videos show individuals who workswith the overtaking of given cultural images of the forest and gender. On the other hand a willto reject the same images can be seen. Likewise, the portrayal shows individuals who struggleto come to terms with their place in the given order but never really succeeds.