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Performance de gosto nos sites de redes sociais

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  • Meu Deus, eu nunca vi uma merda tão retardada e pretensiosa na minha vida. Puta que pariu a fusão entre memes e argumentos idiotas de fanboys de funkeiros e justin bicha com citações (como se isso fosse algo sério como uma pesquisa científica) é tão estupidamente pretensioso que eu não consigo parar de rir XD.
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Performance de gosto nos sites de redes sociais

  1. 1. Performance de gosto e fãs de música no Unidos Contra o Rock do Facebook Adriana Amaral e Camila Monteiro UNISINOS
  2. 2. Introdução• Compartilhamento de conteúdos relativos ao gosto pessoal cada vez mais disseminados em redes sociais.• Noção de performance de gosto (HENNION, 2007, 2010) como relação entre sujeito, música e materialidades tecnológicas.• Manifestação de gosto e a mobilização entre fãs, antifãs, trolls e haters. (GRAY, 2010) Imagem retirada do Facebook do UCR
  3. 3. Discussão de gosto• A noção de distinção e disputa simbólica (BOURDIEU, 2008).• Críticas a Bordieu (SHUSTERMANN, 1998; LIU, 2007; THRONTON, 1996).• Performance de gosto (HENNION, 2007, 2010): cultura material e a corporificação do objeto.
  4. 4. • “Determinismo do fã”: combinando a discussão socioeconômica (BOURDIEU, 2008) com a subcultural. (THRONTON, 1996)• Gostos musicais performatizados através das tecnologias. (HENNION, 2007; AMARAL, 2007; AMARAL E AQUINO, 2009, SÁ, 2009) Imagem retirada do Facebook do UCR
  5. 5. Disputas entre fãs e antifãs/não fãs• O estudo dos fãs ao longo dos anos. (TULLOCH & JENKINS, 1995; BACON-SMITH, 1992; BAYM, 2010)• O papel dos antifãs. (GRAY, 2003; THEODOROPOLOU, 2007; MONTEIRO, 2011)• Possíveis categorizações dentro de fandoms/antifandoms. Imagem retirada do Facebook do UCR
  6. 6. Performance e gêneros musicais• Onde essa música se encaixa? O som dela lembra o que? Quem vai comprar? (FRITH, 1996; NEGUS, 1999)• Gêneros ordenam o mercado musical e direcionam o público. (JANOTTI JR. E PIRES, 2011)• Os gêneros são construídos e precisam ser compreendidos dentro do processo cultural e comercial. (FRITH, 1996)• Performance do fã. Imagem retirada do Facebook do UCR
  7. 7. Imagem retirada do Facebook do UCR
  8. 8. Unidos Contra o Rock (UCR) Imagem retirada do Facebook do UCR Página inicial do UCR no Facebook
  9. 9. UCR• “Essa página é exclusivamente voltada para conteúdo de humor ácido”.• Rock vs Funk• Escolha por intensidade. (FRAGOSO, RECUERO, AMARAL, 2011)• “Auto-trollagem”: a disseminação da página por fãs de rock. Imagem retirada do Facebook do UCR
  10. 10. • Apropriação criativa que reconfigura uma performance de gosto musical a partir da materialidade própria de um meio de compartilhamento de conteúdos musicais feito pelos fãs de determinado gênero (HENNION, 2007)• O nome das páginas do Facebook para grupos, empresas, instituições ser denominado Fan Page.• A ironia nos debates de gêneros musicais (especificamente rock e funk), mostrando características facilmente reconhecidas e as subvertendo através de macros.
  11. 11. Imagem retirada do Facebook do UCRMr. Catra (funk) vs. Axl Rose (rock)
  12. 12. Imagem retirada do Facebook do UCR• O grande número de comentários nas postagens, preconceitos e legitimações de gosto a partir do embate entre classes sociais diferentes. Ex: “maldita inclusão digital”, “funkeiro é tudo ignorante, alienado e sem futuro”.• Disputas entre fãs, antifãs e trolls (“Esse é o canal mais troll do Facebook”.• Aspectos da lógica subcultural, especificamente nas postagens relativas ao subgênero Black Metal (figura ao lado). Varg Vikernes, vocalista da Burzum

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