‘Human after all’? Daft punk and the cult of the machine

Detalhes bibliográficos
Autor(a) principal: Guirau, Marcelo Cizaurre
Data de Publicação: 2014
Outros Autores: Mantovani, Rafael
Tipo de documento: Artigo
Idioma: por
Título da fonte: Crítica Cultural (Online)
Texto Completo: https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/2338
Resumo: Daft Punk is a duo formed in the 1990s and widely recognized in the next decade. They are considered by many as innovator and display themselves a musical experimentation discourse. Their most recent album (Random Access memories), released in 2013, was a public and critical success and was awarded – among four other categories – Best Album of 2013 in the 2014 Grammy Award. What Daft Punk really brings as innovation is the abolition of the human figure, which can be accomplished either by having robots rather than humans as frontmen or by using mechanical voices instead of a human one. By abolishing the human figure and fantasizing that the music is being done by machines, the band achieves a definitive representation of the mechanicist dream of the 20th century, announced for the first time by the Futurist school.
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spelling ‘Human after all’? Daft punk and the cult of the machine‘Human After All’? Daft Punk e o culto à máquinaTechnoDaft PunkUtopiaMachineCyborgTechnoDaft PunkUtopiaMáquinaCiborgueDaft Punk is a duo formed in the 1990s and widely recognized in the next decade. They are considered by many as innovator and display themselves a musical experimentation discourse. Their most recent album (Random Access memories), released in 2013, was a public and critical success and was awarded – among four other categories – Best Album of 2013 in the 2014 Grammy Award. What Daft Punk really brings as innovation is the abolition of the human figure, which can be accomplished either by having robots rather than humans as frontmen or by using mechanical voices instead of a human one. By abolishing the human figure and fantasizing that the music is being done by machines, the band achieves a definitive representation of the mechanicist dream of the 20th century, announced for the first time by the Futurist school.Daft Punk é um duo formado nos anos 1990 e consagrado na década seguinte. É considerado por muitos como inovador e os próprios componentes apresentam um discurso de experimentação em música. Seu último lançamento, Random Access memories, de 2013, foi bastante aclamado por crítica e público, tendo vencido o prêmio de melhor álbum do ano de 2013 – dentre outros quatro prêmios – no Grammy 2014. O que o Daft Punk traz de realmente inovador é que eles abolem a figura humana, efeito alcançado com a eliminação da figura de (ao menos) um frontman e/ou substituindo, em geral, a voz humana pela voz mecanizada. Abolindo o homem e tendo como fantasia que a produção musical é feita por máquinas, tem-se na banda representado de forma mais completa o sonho mecanicista do século XX, trazido pela primeira vez pela escola futurista.Universidade do Sul de Santa Catarina2014-08-12info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/233810.19177/rcc.v9e1201471-85Revista Crítica Cultural; v. 9 n. 1 (2014); 71-851980-64931980-6493reponame:Crítica Cultural (Online)instname:Universidade do Sul de Santa Catarina (UNISUL)instacron:UNISULporhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/2338/1654Guirau, Marcelo CizaurreMantovani, Rafaelinfo:eu-repo/semantics/openAccess2016-09-30T20:41:54Zoai:portaldeperiodicos.animaeducacao.com.br:article/2338Revistahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_CulturalPRIhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/oairamayana.lira@gmail.com1980-64931980-6493opendoar:2016-09-30T20:41:54Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)false
dc.title.none.fl_str_mv ‘Human after all’? Daft punk and the cult of the machine
‘Human After All’? Daft Punk e o culto à máquina
title ‘Human after all’? Daft punk and the cult of the machine
spellingShingle ‘Human after all’? Daft punk and the cult of the machine
Guirau, Marcelo Cizaurre
Techno
Daft Punk
Utopia
Machine
Cyborg
Techno
Daft Punk
Utopia
Máquina
Ciborgue
title_short ‘Human after all’? Daft punk and the cult of the machine
title_full ‘Human after all’? Daft punk and the cult of the machine
title_fullStr ‘Human after all’? Daft punk and the cult of the machine
title_full_unstemmed ‘Human after all’? Daft punk and the cult of the machine
title_sort ‘Human after all’? Daft punk and the cult of the machine
author Guirau, Marcelo Cizaurre
author_facet Guirau, Marcelo Cizaurre
Mantovani, Rafael
author_role author
author2 Mantovani, Rafael
author2_role author
dc.contributor.author.fl_str_mv Guirau, Marcelo Cizaurre
Mantovani, Rafael
dc.subject.por.fl_str_mv Techno
Daft Punk
Utopia
Machine
Cyborg
Techno
Daft Punk
Utopia
Máquina
Ciborgue
topic Techno
Daft Punk
Utopia
Machine
Cyborg
Techno
Daft Punk
Utopia
Máquina
Ciborgue
description Daft Punk is a duo formed in the 1990s and widely recognized in the next decade. They are considered by many as innovator and display themselves a musical experimentation discourse. Their most recent album (Random Access memories), released in 2013, was a public and critical success and was awarded – among four other categories – Best Album of 2013 in the 2014 Grammy Award. What Daft Punk really brings as innovation is the abolition of the human figure, which can be accomplished either by having robots rather than humans as frontmen or by using mechanical voices instead of a human one. By abolishing the human figure and fantasizing that the music is being done by machines, the band achieves a definitive representation of the mechanicist dream of the 20th century, announced for the first time by the Futurist school.
publishDate 2014
dc.date.none.fl_str_mv 2014-08-12
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/2338
10.19177/rcc.v9e1201471-85
url https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/2338
identifier_str_mv 10.19177/rcc.v9e1201471-85
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/2338/1654
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
dc.source.none.fl_str_mv Revista Crítica Cultural; v. 9 n. 1 (2014); 71-85
1980-6493
1980-6493
reponame:Crítica Cultural (Online)
instname:Universidade do Sul de Santa Catarina (UNISUL)
instacron:UNISUL
instname_str Universidade do Sul de Santa Catarina (UNISUL)
instacron_str UNISUL
institution UNISUL
reponame_str Crítica Cultural (Online)
collection Crítica Cultural (Online)
repository.name.fl_str_mv Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)
repository.mail.fl_str_mv ramayana.lira@gmail.com
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