Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-06-23T17:36:44Z No. of bitstreams: 1 JoaoSoares.pdf: 5550196 bytes, checksum: f8b00404f5d8b554afdac55adea1a05d (MD5) / Made available in DSpace on 2017-06-23T17:36:44Z (GMT). No. of bitstreams: 1 JoaoSoares.pdf: 5550196 bytes, checksum: f8b00404f5d8b554afdac55adea1a05d (MD5) Previous issue date: 2015-07-03 / Fundação de Amparo à Pesquisa e ao Desenvolvimento Científico e Tecnológico do Maranhão (FAPEMA) / The Aparelhagem is a popular multimedia artifact, originated from a very specific craft process of design, serving two main needs: physical-structural support to Aparelhagem’s Parties and communicate an aesthetic concept that will be explored from semiotic performances of a DJ and the public of the party itself. The survey mapped the design process of the Stereos, unspoken and cultural information with matching theories of Design, meeting aspirations of social integration of the knowledge. For that, the literature review aimed to understand the formation of the concepts of culture, identity and their reflections in contemporary times, as well as their influences in making design and be designer. Used as a method to ethnography and the systematic observation of the creation, as well as tools used for benchmarking methodologies considered more relevant in the field of design, with the aim of checking the range of the design in this activity. For data collection, a case study was conducted with three workshops, equipment manufacturers in order to extract and systematize the information project, where they revealed cultural aspects that can be incorporated into the traditional concept of design, since the culture of a society is rich in symbols and can be cumulative in its aesthetic and functional process. With that, the research presented here, was intended to create more consistent elements for ongoing project practices, contributing to the design of equipment, the design project through the systematization of information. / A aparelhagem é um artefato popular multimídia, originado de um processoartesanal bastante específico de projeto, que atende duas necessidades principais:dar suporte físico-estrutural às festas de aparelhagens e comunicar um conceito estético-semiótico que será explorado a partir das performances de um DJ e do próprio público da festa. A pesquisa mapeou o Processo de Projeto das Aparelhagens, combinando informações tácitas e culturais com as teorias da área do Design, atendendo aspirações sociais de integração entre os conhecimentos.Para isso, a Revisão de Literatura teve como objetivo entender a formação dos conceitos de cultura, identidade e suas reflexões na contemporaneidade, assim como suas influências no modo de fazer design e ser designer. Utilizou como método a etnografia e a observação sistemática do ferramental da criação, bem como se valeu de análises comparativas às metodologias consideradas mais relevantes no campo do design, com o objetivo de verificar o alcance do design nesta atividade. Para a coleta de dados, foi realizado um Estudo de Caso com três oficinas fabricantes de aparelhagem, visando extrair e sistematizar as informações de projeto, onde se revelaram aspectos culturais que podem ser incorporados ao conceito tradicional de design, uma vez que a cultura de uma sociedade é rica em símbolos e pode ser cumulativa no seu processo estético e funcional. Com isso, a pesquisa aqui apresentada, pretendeu criar elementos mais consistentes para as práticas projetuais em curso, contribuindo tanto para o projeto de aparelhagens, quanto para o projeto de design através da sistematização das informações.