Semiose da performance musical ‘afterlife’: pulsão invocante e escópica do audiovisual

• Autor(a) principal: Abdias, Pablo Renato de Sousa
• Data de Publicação: 2023
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://repositorio.pucsp.br/jspui/handle/handle/39932
• topic: CNPQ::CIENCIAS HUMANAS::PSICOLOGIA; Afterlife; Semiótica-psicanalítica; Semiose audiovisual; Pulsão invocante; Pulsão escópica; Afterlife; Psychoanalytic semiotics; Audiovisual semiosis; Invoking drive; Scopic drive

This monograph aims to apply the concept of semiosis to the analysis of the Afterlife musical performance, distinguishing the signifiers of the scopic and invoking drive of audiovisual production. It discusses the immersive experience and the projections of digital art in the universe of mesmerizing soundscapes and exuberant rhythms that fundamentally exacerbate the death drive. Therefore, it was up to formulate the research question: could it be that through this aesthetic experience of sensations, emotions and feelings, the participant reaches catharsis, the true awakening to the Real of his own desire? Formulating the hypothesis: the Afterlife aesthetic experience, linked to the death drive in its statement expresses the excess of life or the so-called aesthetic enjoyment. The state of the art in this regard signaled the exploration of the concept of semiosis in Peirce, the drive in the passage from Freud to Lacan, considering the latter's scopic and invoking drive as opportune for the aesthetic phenomenon. The production of this study is justified because it is a contribution to the reflection of the postgraduate course in which it is inserted, above all, with regard to the clinic of culture, the event analyzed is a collective cultural product in which symptoms worthy of being interpreted. The theoretical foundation is anchored in Peirce's phenomenological concept, in Santaella's correspondence with Lacan's categories, as well as Alain Didier Weill's Blue Note to package the effects of the invoking drive. The methodological procedures focused on the decoupage of some versions of the event, bibliographic survey and collection of online testimonials from party participants. In this way, the results reflect the structure defined in a first chapter, audiovisual decoupage of the Afterlife performance, a second exclusive on semiosis as an action of audiovisual signs, a third that addresses the psychoanalytic concepts of desire, jouissance and catharsis; feeling the need for a fourth chapter about the imagery representations of the party analogous to the four Lacanian discourses