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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Cora??o sonoro - afetos, corpos e m?quinas nas festas de m?sica eletr?nica

Neves, Thiago Tavares das 26 August 2016 (has links)
Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-13T19:26:36Z No. of bitstreams: 1 ThiagoTavaresDasNeves_TESE.pdf: 3326782 bytes, checksum: 44c70cc10ce9a343ec5825a6ce666d74 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-16T19:41:16Z (GMT) No. of bitstreams: 1 ThiagoTavaresDasNeves_TESE.pdf: 3326782 bytes, checksum: 44c70cc10ce9a343ec5825a6ce666d74 (MD5) / Made available in DSpace on 2017-06-16T19:41:16Z (GMT). No. of bitstreams: 1 ThiagoTavaresDasNeves_TESE.pdf: 3326782 bytes, checksum: 44c70cc10ce9a343ec5825a6ce666d74 (MD5) Previous issue date: 2016-08-26 / O objetivo deste trabalho ? explorar as diversas sensibilidades e formas de afetar e ser afetado, n?o s? compreendendo os afetos no plano dos sujeitos, mas tamb?m os assumindo como fluxos de passagens para formas distintas de express?o e conex?o. Nas festas de m?sica eletr?nica, os afetos s?o produzidos e potencializados tamb?m por meio das m?quinas musicais e sociais que agem diretamente sobre o corpo e alteram o processo de sociabilidade. Os afetos, os corpos e as m?quinas funcionam aqui como operadores conceituais para entender as dimens?es sociais, culturais e filos?ficas das festas de m?sica eletr?nica. Afeto ? entendido aqui sob a ?tica de Spinoza (1677/2010) como afec??o do corpo: uma a??o, uma pot?ncia de agir que pode ser aumentada ou diminu?da. Os afetos nas festas de m?sica eletr?nica podem ser provocados pela a??o da m?sica sobre os indiv?duos, dos participantes entre si ou potencializados por meio das drogas, especialmente o ecstasy. Spinoza (1677/2010) tra?a duas defini??es sobre o corpo: na cin?tica, o corpo est? diretamente ligado ? rela??o de velocidades e lentid?es, movimento e repouso, ? essa rela??o de velocidades e lentid?es que formar? o corpo. J? a outra defini??o ? din?mica, todo corpo se define por certo poder de ser afetado. Os afetos s?o potencializados tamb?m atrav?s das m?quinas que agem diretamente sobre o corpo. As m?quinas s?o entendidas tamb?m como extens?es do corpo humano, sistemas de fluxos e cortes com capacidade de produ??o e cria??o. As m?quinas podem ser artificiais, humanas e sociais. Gilles Deleuze (2010), F?lix Guattari (1988) e Edgar Morin (2008) s?o os principais suportes te?ricos para pensar o conceito de m?quina. A partir dessa premissa, ? poss?vel a conex?o entre m?quinas artificiais e humanas nas festas m?sica eletr?nica, nas quais foram percebidos diferentes tipos de afeta??es: corporais, sonoras, sociais e maqu?nicas. A afeta??o est? diretamente ligada ao conceito de Spinoza (1677/2010) de afetos e afec??es. Remete n?o s? ao estado do corpo quando afeta e ? afetado, mas tamb?m ? a??o, ? transforma??o que o corpo sofre/age quando ? afetado ou afeta. Afeta??o corresponde a todo o processo afetivo. As afeta??es podem ser corporais, quando o corpo ? afetado por outro corpo humano; sonoras, quando o corpo ? afetado por qualquer est?mulo sonoro; sociais quando o corpo humano se conecta com outro corpo humano ou artificial e maqu?nicas, quando o corpo ? afetado por m?quinas. O recorte emp?rico abrange dois festivais de m?sica eletr?nica, o King festival em Recife e o Dream Valley em Florian?polis e festas de m?sica eletr?nica situadas em Natal, especialmente a PAJUX. O m?todo de pesquisa trata-se de uma cartografia complexa, na qual mesclo o m?todo cartogr?fico proposto por Deleuze e Guattari (1995) com apoio na epistemologia da complexidade de Edgar Morin (2007a). / The aim of this study is to explore the various sensitivities and ways of affecting and being affected, not only comprising the affections in the plane of the subjects, but also taking as passages flows for different forms of expression and connection. In electronic music parties, affections are produced also potentiated by the musical and social machines that act directly on the body and alter the process of sociability. Affections, bodies and machines work here as conceptual operators to understand the social, cultural and philosophical dimensions of electronic music parties. Affection is seen here from the perspective of Spinoza (1677/2010) as a condition of the body, an action, a power of action that can be increased or decreased. Affections in electronic music parties can be triggered by the music action on individuals, the participants each other or potentiated through drugs, especially ecstasy, which act directly on the body. Spinoza (1677/2010) traces two definitions about the body: the kinetics, the body is directly connected to the relations of speeds and slowness, motion and rest, is this relation of speeds and slowness that will form the body. Already the other definition is dynamic, whole body is defined by a certain power of being affected. The affects are enhanced also through the machines that act directly on the body. The machines are also seen as extensions of the human body, cut flow systems with capacity of production and creation. The machines can be artificial, human and social. Gilles Deleuze (2010), Felix Guattari (1988) and Edgar Morin (2008) are the main theoretical support to think the concept of machine. From this premise, is possible the connection between artificial and human machines in electronic music parties, which were perceived different kinds of affectations: bodily, sonorous, social and machinic. The affectation is directly linked to the concept of Spinoza (1677/2010) of feelings and affections. Refers not only to the state of the body when it affects and is affected, but also to action, the transformation that the body suffers / acts when it is affected or affects. Affectation corresponds to all the affective process. The affectations can be bodily, when the body is affected by another body; sonorous, when the body is affected by any sound stimulus; social, when the human body connects with another human body or artificial and machinic, when the body is affected by machines. The empirical cut covers two electronic music festivals, the King festival in Recife and the Dream Valley in Florianopolis and electronic music parties located in Natal, especially PAJUX. The research method it is a complex cartography, which was blended the cartographic method proposed by Deleuze and Guattari (1995) with support in the epistemology of complexity of Edgar Morin (2007a).
2

Da house music ? bagaceira: uma etnografia sobre m?sica eletr?nica, espacialidade e (homo)sexualidade masculina em Recife, PE

Santana, Tarsila Chiara Albino da Silva 26 June 2017 (has links)
Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-01T23:10:55Z No. of bitstreams: 1 TarsilaChiaraAlbinoDaSilvaSantana_DISSERT.pdf: 4945040 bytes, checksum: 35e36961837f67f01598552a6b624ff8 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-16T21:42:14Z (GMT) No. of bitstreams: 1 TarsilaChiaraAlbinoDaSilvaSantana_DISSERT.pdf: 4945040 bytes, checksum: 35e36961837f67f01598552a6b624ff8 (MD5) / Made available in DSpace on 2017-11-16T21:42:15Z (GMT). No. of bitstreams: 1 TarsilaChiaraAlbinoDaSilvaSantana_DISSERT.pdf: 4945040 bytes, checksum: 35e36961837f67f01598552a6b624ff8 (MD5) Previous issue date: 2017-06-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / A disserta??o consiste em uma teoria etnogr?fica da rela??o entre a m?sica eletr?nica com os espa?os de sociabilidade urbana em Recife e os efeitos da m?sica eletr?nica na intera??o de homens com pr?ticas (homo)sexuais nesses espa?os. Na conflu?ncia desses dois objetivos, intenciono elaborar uma perspectiva etnogr?fica mais ampla sobre a m?sica eletr?nica, de modo que aqui analiso n?o apenas os seus sons, mas tamb?m os sentidos que os interlocutores conferem a esse g?nero musical e como a m?sica eletr?nica, em seus mais variados estilos, (re)configura os espa?os de sociabilidade recortados. Para tanto, primeiro procuro analisar como os interlocutores, a partir das suas experi?ncias geracionais, vivenciam suas experi?ncias (homo)sexuais nos espa?os de sociabilidade urbana que frequentam. Deste modo, aspiro apontar para a amplia??o do campo de autonomia desses homens em uma sociabilidade dada e como eles negociam as suas experi?ncias (homo)sexuais em um regime de visibilidade circunscrito socioculturalmente. Em seguida, o foco da an?lise recai sobre o lugar da m?sica eletr?nica nos bares e boates GLS e em festas ?alternativas?. Faz-se necess?rio, para tanto, uma descri??o etnogr?fica da din?mica estrutural e simb?lica que caracteriza esses espa?os. Descrevo, nesse sentido, tanto a estrutura f?sica quanto a programa??o l?dica. E, fundamentalmente, procuro ainda descrever as intera??es mediadas pela m?sica eletr?nica dan?ante entre os interlocutores. No terceiro, e ?ltimo momento, detenho-me mais sistematicamente a analisar os diferentes estilos musicais que s?o reproduzidos nesses espa?os de sociabilidade. Trata-se, assim, de assinalar como a m?sica eletr?nica e os espa?os de sociabilidade etnografados se relacionam mutualmente. As experi?ncias etnogr?ficas descritas tamb?m procuram apontar como a m?sica eletr?nica produz efeitos na intera??o entre os interlocutores. Esse duplo movimento, a rela??o de mutualidade e a produ??o de efeitos, por sua vez, se constata a partir das luzes, das m?sicas e das dan?as particularizadas que ambientam esses espa?os. Essa ambienta??o produz uma ?sensa??o de intimidade?, a qual excita diferentes express?es er?ticas e propicia as performances interacionais entre as pessoas que ali est?o. Por fim, as cenas de express?es erotizadas, mediadas pela m?sica eletr?nica dan?ante que observei em campo, est?o relacionadas com a forma como esses homens vivenciam suas experi?ncias (homo)sexuais nesses espa?os. / The dissertation consists of an ethnographic theory of the relation between electronic music and the spaces of urban sociability in Recife and the effects of electronic music on the interaction of men with (homo)sexual practices in these spaces. At the confluence of these two aims, I intend to elaborate a broader ethnographic perspective on electronic music, so that here I analyze not only their sounds, but also the meanings that the interlocutors confer on this musical genre and how electronic music, at its most styles, (re) configures spaces of sociability cut out. To do so, I first try to analyze how the interlocutors, from their generational experiences, experience their (homo)sexual experiences in the spaces of urban sociability they attend. In this way, I aspire to point to the extension of the field of autonomy of these men in a given sociability and how they negotiate their (homo)sexual experiences in a regime of visibility circumscribed socioculturally. Then the focus of the review falls on the place of electronic music in GLS bars and nightclubs and at alternative parties. For that, an ethnographic description of the structural and symbolic dynamics that characterizes these spaces is necessary. I describe, in this sense, both the physical structure and the playful programming. And, fundamentally, I try to describe the interactions mediated by the electronic dance music between the interlocutors. In the third, and last moment, I analyze more systematically the different musical styles that are reproduced in these spaces of sociability. It is, therefore, to point out how electronic music and ethnography spaces of sociability are mutually related. The ethnographic experiences described also seek to point out how electronic music produces effects in the interaction between the interlocutors. This double movement, the relationship of mutuality and the production of effects, in turn, can be seen from the lights, the songs and the particularized dances that set these spaces. This ambiance produces a "sense of intimacy," which excites different erotic expressions and fosters interactional performances among the people who are there. Finally, the scenes of erotic expressions, mediated by the electronic dance music I observed in the field, are related to the way these men experience their (homo)sexual experiences in these spaces.

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