Soundsystem de Bits: Baianasystem, tecnomediações e a midiatização da produção audiovisual da indústria fonográfica contemporânea

Abstract

Based on the observation of technomediations, a term defined by Sodré (2006), we propose to develop reflections that interrelate mediatization to the contemporary music scene, observing how the productions of the phonographic industry have been transformed from the perspectives that arise with this communicational phenomenon. From the understanding of the need for the interactional social component, delimited by Braga (2012), we seek to perceive through the possibilities provided by the new media and their tools, how the applicability can go beyond the concept of programming propoused by Flusser (2008), reconfiguring the practices of that industry. Regarding to the methodological approach, we used qualitative research, of an exploratory nature, having as main object of analysis the audiovisual production of the musical group BaianaSystem, located in the online social networks of the band, online platforms and its bordering areas. We use as a main analysis tool the mediatization, because we consider it as one of the main of the ones that most affects the mediation changes pertinent to this market, as well as the transformations and breaks of the various concepts that were contemplated in this dissertation. Linked to this communicational phenomenon, we perceive how remidiation, defined by Bolter and Grusin (2000) and remixability, conceptualized by Manovich (2005) drive the creation of mediatized conceptions of this industry. Accordingly, we use the philosophy of photography as a parallel methodology, to guide our gaze in the sense of how we interpret the apparatus, the programming, the programs and the figure of the director, originally named by Vilém Flusser as a photographer. Based on the concept of image-music by Silva (2006), we realized how contemporary configurations in the era of imagery metastasis, embedded mainly in social networks and online platforms, foster a greater degree of dialogism between the visual and sound paradigm. The use of audiovisual resources becomes evident as an inseparable element of musical productions, becoming widely used in media products in the current scenario and fostering the intensification of possible dialogues between image and music, which constitute and conceptualize what we call as Soundsystem of Bits.