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  • Carriço Reis - Cultura Intangible PDF

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    8 visualizações7 páginas

    Carriço Reis - Cultura Intangible PDF

    Enviado por

    Bitus

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 7
    TEM CCE PUA EUR CUC LT ee COchenta y un atios separan el Isjano 1928 del aro 2008. El lector se preguntard cual es la razén para comparar estos dos puntos ‘temporales Al referimos a ese tiempo pretéito nos remitimos al afio ‘cero de una época marcada por una espantosa premonicion. En 1928 ‘el escrito, fl6sof0,crtco y, aadiria, vidente, Paul Valéry anticip6 en ‘su breve ensayo La Cnquéte de 'ubiquit’ lo que podria lamarse la sociedad recreativa de la moitiple fricion cultural, Es preciso destacar cémo al tiempo verbal future utiizado por el autor traduce con admirable acierto la situacién presente, fen especial cuando indica que «las obras adquirran una especie de ubicuidad. Su presencia inmediata o su resttucién en cualquier momento obedecerén a nuestra iemada. Ya no estarn sdio en si ‘mismas, sino todas alll donde haya alguien y aigin aparato»?. Estas palabras son tan reveladoras que Walter Benjamin en 1996 las cta en ‘el préiogo de su libro més celebre La obra de arte en la 6poca de su reproductibildad técnica, reflexion fundamental para la comprension * ‘These words were 0 revealing that Welter Benjamin quoted them in 1986 in the prologue of his most famous book, The Work of Art in the Period of its Technological Reproduction, an essential work of reflection for the understanding of the emerging mass culture. AS he aid in his well-known epilogue: «by means of technical reproduction, the copy and circulation of information through communication media will produce the democratization of culture». This phenomenon grew with the arrival of the digital era which coincided with the popularization, from 1996 onwards, of @ powedul instrument of private collectvistion: the World Wide Web. ‘This generalization was produced when, at the same time, the Web became an archive that permitted the rapid and instantaneous access to all types of works, from the most canonical creations to the avant- ‘garde, and as a DIV proactive channel for exhibition and visibility. BRUNO CARRIGO REIS* ‘As a consequence of the price reduction of hardware, due to mass production, and software, because of the emergence of free access programmes and the us® of illegal downloads, our homes became high quality mutimedia studios. From this to an intensive production was just a step, altering sociabilties withthe "worlds ofan”, touse Howard Becker's sociological term. The classical relation of emission flow/raceiver, especially among the generations socialised in the new technologies, became a king fof communicational hybrid, Here, producers and receivers can no longer be distinguished, geting feedback from the numerous digital platforms that cater for this new realty. From biog to MySpace, and from YouTube to webpage, the possiblities of lending visbilty to new experiences directly, without any meciation, are multiplied, and then, in ome cases, absorbed by the most conventional cultural industries, ‘We ave living in an unprecedented age with the almost daily appearance of creative agents: wrters, musicians, video artists, Photographers, etc, The frenetic rhythm moves away from the frystfcation of meagre times and the weak pre-oybemetic cultural Consumption. This consumption was established from a straight, fasting and material relationship with the art object, today deformed by the acceleration which places Impressions before understanding’ Using the physical-chamical metaphors of two of the mast important thinkers on the subject, Yves Michaud and Zygmunt Bauman, this trend leads to an evaporation or dllution of the social meaning of current art creations. For these authors the over-abundance of artistic production subtracts intensity and communication capabiltis from ‘works, causing the vague feeling that there is a fine ie between the (generative and the destructive (DOSSER ARTECONTEXTO 1 “This fact is not removed from the demateralzation itself of cuitural objects, Following compression logic, there is an existing tendency to reduce them to archives and fles comfortably stored in technological formats. Everything fits in that process which removes the real presence of creation within the standardising hard dsc, in the increasingly micro-ight laptops, in the pen crive and the MP3 reader. ‘The weight and the volume of cultural objects have been converted Into Gigabytes and Terabytes, thus replacing some central aspects of their identity, The audiovisual archives which store massive amounts of content, with increasingly unlimited capacity, alter the relationship with the work itself, which before boasted a corporeal nature, now ‘causing its symbolic annihilation. The new relationship established withthe digital format in which the compact disc is replaced by the MPS, the DVD for AVI and other textensions, and the so-called “plastic works” which are increasingly Jess removed from the multdisciplinary production processes, lead to the Incorporation of the new technologies and the production of potentiates, promoting an exponential growth of digital museums. [Al these symptoms seam to lead to a new relationship with cultural ‘consumption, for «audiences are not born, they are made. Since the middle of the 1970s withthe appearance ofthe video cassette (1978) ‘and the walkman (1979), which saw their digital versions improved in ‘the DVD player (1995) and the Discman (1984), everything pointed toa privatization of the consumption that was established with the advent Gf the internet, whien also mado It more aificult to study the profile of ‘these intimate consumers’. “This new trend was revealed in a special way in the ‘music phenomenon, where @ more accentuated process of ‘Gematerialization can be observed. In film, literature and the visual aris the need still exists for a concrete experience, a characteristic that the digital era has not yet managed to emulate. Turning once ‘again to the masterly clairvayance of Valéry: «Of all the arts music js closer to being transposed to the modern mods. tts nature ‘and the place it occupies in the world point to it being the first to. modity Its distribution, reproduction and even production formulass, Since 1998, with the appearance of the MP3 audio ‘compression format and the emergence of MP3 readers, many things have changed. Currently, their daily use in Europe 1s calculated at almost 100 milion users. Keeping in mind these ‘ery revealing figures, a recant report of the Scientific Committee fon Emerging and Newly Identified Health Risks highlighted the Increase of deafness in the medium term due to the intensive use of these machines", Perhaps the title of the record by Queens of the Stone Age in 2002: Songs for the Deaf, which points out the first symptoms attributed to an encapsulated way of life, ean no longer be regarded as ironic. ‘But the risks to public health are a minor concern to a music industry which has gone bankrupt because of the generalised use of peer-to-peer music download programmes. Through these services, Internet users can share, for free, the MPS files on their computers with other uses. Since the germ which emerged 12: ARTECONTENTO. 00851 with the Napster programme, in 1999, the sale of records has hot stopped decreasing, to the extent that 45% fewer units are Commercialized, according to the consulting company Nielsen SoundScan. As compensation, we are witnessing the growth of the

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