Parabolicamará: redundancy and innovation in Tropicália's television information

• Autor(a) principal: Zincone, Rafael
• Data de Publicação: 2018
• Outros Autores: Schneider, Marco
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Em Questão (Online)
• Texto Completo: https://seer.ufrgs.br/index.php/EmQuestao/article/view/76615
• topic: Tropicália. Teoria da informação. Economia política. Capital midiático. Televisão.; Tropicalia. Information theory. Political economy. Media capital. TV.

It aims to discuss the tension between redundancy and innovation in the television information of the tropicalist musical movement. Epistemologically, it adopts an interdisciplinary perspective between Information Science and Social Communication, exploring two theoretical approaches shared by both, in different degrees: the Theory of Information and the Political Economy of Information, Communication and Culture. Methodologicly, it establishes a dialogue between the Theory of Information, in its appropriation by Augusto de Campos, in the article Informação e redundância na música popular, and the Political Economy of Information, Communication and Culture, mainly through its development in Marco Schneider’s Dialética do gosto. In this sense, it situates the debate around the aesthetic-informational component of Tropicália, in the context of the Brazilian cultural industry, of the late 1960s. And it discusses the way in which it participates in the conformation of tropicalist mediated information. The main problem is related to the possibility of the character of vanguard or innovation of the musical movement in the stages of the programs of the TV audience at the time. The main question is how the cultural industry, despite its dominant tendency to redundancy, enabled a wide circulation of innovative information in Brazilian popular music during the analyzed period. Without ignoring the relative autonomy and the agency of tropicalist artists, the main hypothesis of this paper is that its innovative nature would have been favored by the liberal and competitive stage of the media capital of the time, more opened to innovation than the subsequent phases, monopolistic and fictitious.