‘Human after all’? Daft punk and the cult of the machine
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Data de Publicação: | 2014 |
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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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‘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 |
_version_ |
1800220552331264000 |