Videoclipe interativo: novas formas expressivas no audiovisual
Carregando...
Data
2018-08-24
Autores
Caldas, Carlos Henrique Sabino
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
A linguagem audiovisual é uma linguagem sincrética, e ao longo de um século de seu desenvolvimento, foi e é marcada por remediações e hibridizações. Nesse sentido, entende-se que a partir do advento das tecnologias digitais de produção e circulação de conteúdos possibilitou-se o progresso de novas formas expressivas do fazer audiovisual. Assim, o videoclipe interativo, um formato nativo do ambiente digital é em sua essência um produto híbrido que se manifesta em suportes remediados que possibilitam uma sincretização de linguagens distinta das formas de textualização desenvolvidas até então na comunicação audiovisual. O objetivo central desta tese é compreender o fenômeno dos videoclipes interativos a partir dos processos de remediação, hibridização e dos mecanismos de interação decorrentes da articulação de diferentes sistemas de significação na perspectiva do sincretismo de linguagens, postulado na semiótica discursiva. Para constituição do corpus, foi realizado o mapeamento da primeira década de videoclipes interativos (2007-2016), totalizando 152 projetos, posteriormente sistematizados e disponibilizados em um de banco de dados no site https://interactivemusicvideo.blogspot.com. A revisão bibliográfica dos conceitos de remediação e de hibridização permitiram identificar na primeira parte do trabalho as principais arquiteturas presentes nestes videoclipes, apontando para a necessidade de investigar o papel do sincretismo de linguagens nas estratégias enunciativas voltadas à produção de efeitos de sentido de interação. Com o aporte teórico da semiótica discursiva sobre a questão do sincretismo de linguagens, de matriz hjelmsleviana, a presente tese propõe um modo de abordagem que considera as linguagens como funtivos da função semiótica no processo de sincretização. Constatou-se nas análises que em todos os projetos dos videoclipes interativos a interatividade é construída pelas linguagens manifestadas no campo visual, colocadas em relação entre si e/ou com as linguagens manifestadas no campo sonoro. Observou-se que no videoclipe interativo, esse hiperaudiovisual, uma nova forma de remediação e hibridização é proporcionada pela convergência digital. A remediação entre os meios analógicos e digitais produz arquiteturas específicas como os games, a mixagem, a navegação e a narrativa interativa a partir de processos de hibridização reiterados por determinados procedimentos enunciativos, além de criar suas estratégias de interatividade em articulações sincréticas pautadas por essa nova lógica de remedição e hibridização. Outro ponto de destaque diz respeito ao fluxo de produção desses videoclipes. Verificou-se que na maioria dos projetos, o processo de interatividade se dá durante a execução sincrônica do visual com o sonoro, embora, haja a ocorrência em alguns videoclipes, de uma interatividade que se constrói para além do fluxo da música. Há nestes casos, a produção de interfaces sofisticadas para elaboração de elementos visuais e sonoros manipuláveis, construindo um ambiente hipermidiático. Observou-se também que o videoclipe interativo não é apenas editado audiovisualmente, mas, articulado com a programação computacional. Essa lógica permite afirmar que esse formato audiovisual interativo é uma forma expressiva própria da internet como uma das primeiras manifestações que dão os indícios do desenvolvimento de uma linguagem própria dos meios digitais.
Audiovisual language is a syncretic language, and over its one century of development, it has been, and still is, characterized by remediation and hybridization. In that sense, the advent of digital content production and circulation technologies has enabled progress in newly expressive ways of audiovisual making. Thus, interactive video clips, a digital environment native format, are, in fact, a hybrid product, expressing themselves in remedied media, which allow for a language syncretism that is distinct from the textualization forms developed in audiovisual communication until then. The main goal in this thesis is to understand the interactive video clip phenomena from the remediation and hybridization processes and the mechanisms arising from articulating different significance systems, through the language syncretism perspective, as postulated on discursive semiotics. For corpus constitution, there has been a mapping of the first decade of interactive video clips (2007-2016), totalizing 152 projects, which have been subsequently systematized and made available through a database at the website: https://interactivemusicvideo.blogspot.com/. A bibliographical review of remediation and hybridization concepts allows us to define, in the first part of this paper, the main architectures that are present in those video clips, pointing out to the need of investigating the role of language syncretism in enunciative strategies focused on interaction meaning effects production. With the discursive semiotics theoretical input on language syncretism, form a Hjelmslevian matrix, this thesis proposes an approach that considers languages as functive on the semiotic function in the syncretization process. Analysis has concluded that, in every interactive video clip project, interactivity is built by manifested languages in the visual field, by relating them to each other and/or to the languages that are manifested in the audio field. Research has shown that, in interactive video clips, the hyper-audiovisual, a new form of remediation and hybridization, is provided by digital convergence. Remediation between analogical and digital means produces specific architectures such as games, mixing, browsing and an interactive narrative from hybridization procedures, besides creating interactive strategies in syncretic articulations, guided by that new remediation and hybridization rationale. Another focal point is related to the production flow of those video clips. In most of the projects, research has shown that the interactivity process occurs during the synchronic execution of the visual and the audible, although, in some video clips, interactivity is built beyond the music flow. In those cases, the production of sophisticated interface for elaborating manipulable visual and audio elements occurs, building a hypermediatic atmosphere. It has also been shown that interactive video clips are not only audiovisually edited, but they are articulated with computational programming. That rationale allows us to affirm that such interactive audiovisual format is a unique expressive form on the internet, being one of the first expressions that indicate the development of an own particular language for digital media.
Audiovisual language is a syncretic language, and over its one century of development, it has been, and still is, characterized by remediation and hybridization. In that sense, the advent of digital content production and circulation technologies has enabled progress in newly expressive ways of audiovisual making. Thus, interactive video clips, a digital environment native format, are, in fact, a hybrid product, expressing themselves in remedied media, which allow for a language syncretism that is distinct from the textualization forms developed in audiovisual communication until then. The main goal in this thesis is to understand the interactive video clip phenomena from the remediation and hybridization processes and the mechanisms arising from articulating different significance systems, through the language syncretism perspective, as postulated on discursive semiotics. For corpus constitution, there has been a mapping of the first decade of interactive video clips (2007-2016), totalizing 152 projects, which have been subsequently systematized and made available through a database at the website: https://interactivemusicvideo.blogspot.com/. A bibliographical review of remediation and hybridization concepts allows us to define, in the first part of this paper, the main architectures that are present in those video clips, pointing out to the need of investigating the role of language syncretism in enunciative strategies focused on interaction meaning effects production. With the discursive semiotics theoretical input on language syncretism, form a Hjelmslevian matrix, this thesis proposes an approach that considers languages as functive on the semiotic function in the syncretization process. Analysis has concluded that, in every interactive video clip project, interactivity is built by manifested languages in the visual field, by relating them to each other and/or to the languages that are manifested in the audio field. Research has shown that, in interactive video clips, the hyper-audiovisual, a new form of remediation and hybridization, is provided by digital convergence. Remediation between analogical and digital means produces specific architectures such as games, mixing, browsing and an interactive narrative from hybridization procedures, besides creating interactive strategies in syncretic articulations, guided by that new remediation and hybridization rationale. Another focal point is related to the production flow of those video clips. In most of the projects, research has shown that the interactivity process occurs during the synchronic execution of the visual and the audible, although, in some video clips, interactivity is built beyond the music flow. In those cases, the production of sophisticated interface for elaborating manipulable visual and audio elements occurs, building a hypermediatic atmosphere. It has also been shown that interactive video clips are not only audiovisually edited, but they are articulated with computational programming. That rationale allows us to affirm that such interactive audiovisual format is a unique expressive form on the internet, being one of the first expressions that indicate the development of an own particular language for digital media.
Descrição
Palavras-chave
Videoclipe interativo, Remediação, Hibridismo, Sincretismo de linguagens, Interactive music video, Remediation, Hybridism, Language syncretism