Listening an automaton ear: aesthetics and eroticism of ASMR
estética e erotismo do ASMR
DOI:
https://doi.org/10.30962/ec.2263Keywords:
ASMR. Anesthetic. Eroticism. Sound Studies.Abstract
From a brief analysis of two ASMR videos (Autonomous Sensory Meridian Response), available on the social network youtube, the author proposes an essay about contemporary listening. The ASMR subculture and the tingly aesthetics are presented as emerging modes of audiovisual consumption in dialogue with the notions of anesthetics, by Walter Benjamin and eroticism by George Bataille. The resulting hypothesis is the emergence of an automatic erotic and aesthetic realization, result of the human relationship in sociotechnical networks, which enhances the alienation of sleep by the late capitalism.
Downloads
References
BATAILLE, George. O erotismo. Por Alegre: L&PM Editores, 1987.
BARRATT e DAVIS. Autonomous Sensory Meridian Response (ASMR): a flow-like mental state. In: PeerJ 3:e851. 2015. Disponível em: . Acesso em: 04 fev. 2020.
BENJAMIN, Walter. A obra de arte na época de sua reprodutibilidade técnica. In: LIMA, Luiz Costa. Teoria da Cultura de Massa. São Paulo: Paz e Terra, 2000. p. 207-239.
BENTES, Ivana. Economia narrativa: do midiativismo aos influenciadores digitais. In: BRAIGHI, Antônio Augusto; LESSA, Cláudio; CÂMARA, Marco Túlio (orgs.). Interfaces do Midiativismo: do conceito à prática. CEFET-MG: Belo Horizonte, 2018. P. 151-169.
BUCK-MORSS, Susan. Estética e anestética: O "Ensaio sobre a obra de arte" de Walter Benjamin reconsiderado. In: Travessia. n.33, Revista do Programa de Pós-graduação em Literatura da Universidade Federal de Santa Catarina, 1996.
CANALTECH. ASMR. O que é e porque esse tipo de vídeo viralizou na internet? Brasil, 12 fev. 2019. Disponível em: <https://canaltech.com.br/virais/asmr-o-que-e-e-porque-esse-tipo-de-video-viralizou-na-internet-132625/>. Acesso em 06 fev. 2020.
CHALON, Madeline; NANCY, Jean-Luc. Entrevista com Jean-Luc Nancy. Mas deixemos de lado o senhor Bataille. In: Alea. Estudos Neolatinos. vol.15, n.2. Rio de Janeiro, jul-dez. 2013. Disponível em: <https://doi.org/10.1590/S1517-106X2013000200012>. Acesso em: 08 jan. 2020.
CHION, Michel. El sonido. Música, cine, literatura... Paidós Comunicación, n. 107. Barcelona: Editorial Paidós, 1999.
CODATO, Henrique. O corpo e a Voz no Cinema Contemporâneo: reflexões sobre o filme Ela (Her, 2013), de Spike Jonze. In: Significação. v.43. n.46. 2016. p.106-125.
CRARY, Jonathan. 24/7: Capitalismo tardio e os fins do sono. São Paulo: Cosac Naify, 2014.
DAMÁSIO, António. O erro de Descartes. Emoção, razão e o cérebro humano. São Paulo: Companhia das Letras, 1994.
FOWLER, Damian. O que é ASMR – os intrigantes sons que valem ouro no youtube. In: BBC Brasil (on-line), 5 ago. 2018. Disponível em: <https://www.bbc.com/portuguese/vert-cap-44829944>. Acesso em: 14 jan. 2020.
FROMM, Erich. O medo à liberdade. 14. ed. Rio de Janeiro: Guanabara, 1986.
GALLAGHER, Rob. Eliciting Euphoria Online: The Aesthetics of “ASMR” Video Culture. In: Film Criticism. Volume 40, Edição 2. Special Guest-Edited Issue: The Aesthetics of Online Videos. jun., 2016. Disponível em: <http://dx.doi.org/10.3998/fc.13761232.0040.202>. Acesso em: 10 jan. 2020.
GUMBRECHT, Hans Ulrich. Produção de Presença. O que o sentido não consegue transmitir. Rio de Janeiro: Contraponto/Ed. PUC-Rio, 2010.
HALL, Stuart. Da diáspora. Identidades e Mediações Culturais. Belo Horizonte: Editora UFMG, 2003.
HARVEY, David. Condição pós-moderna. 25 ed. São Paulo: Loyola, 2014.
LE BRETON, David. Il sapore del mondo. Un'antropologia dei sensi. Milão: Raffaello Cortina Editore, 2007.
LEFEBVRE, Henri. A vida cotidiana no mundo moderno. Série Temas. Volume 24. Sociologia e Política. São Paulo: Ática, 1991.
LÖWY, Michael. O capitalismo como religião. In: Folha de São Paulo, 18 dez. 2005. Disponível em: <https://www1.folha.uol.com.br/fsp/mais/fs1809200508.htm>. Acesso em: 07 fev. 2020.
MARTINI, Felipe Gue. Platina: transmetodologia radical e escutas poéticas entre Porto Alegre e Montevidéu. 2018. Tese (Doutorado em Ciências da Comunicação). Unisinos, São Leopoldo, 2018.
NANCY, Jean-Luc. A la escucha. 1. ed. Buenos Aires: Amorrortu, 2007.
NANCY, Jean-Luc. Ascoltando. In: SZENDY, Peter. Escucha. Una história del oído melómano. Barcelona: Ediciones Paidós Ibérica, 2003. p.11-16.
OBICI, Giuliano. Condição da escuta. Mídias e territórios sonoros. Rio de Janeiro: 7Letras, 2008.
SARTRE, Jean-Paul. Questão de método. Tradução de Bento Prado Júnior. São Paulo: Abril Cultural, 1973. (Os Pensadores, 45).
SCHAFER, R. Murray. A afinação do mundo. São Paulo: Unesp, 2001.
STERNE, Jonathan. The Audible Past. Cultural Origins of Sound Reproduction. Durhan & London: Duke University Press, 2003.
SZENDY, Peter. Escucha. Una história del oído melómano. Barcelona: Ediciones Paidós Ibérica, 2003.
TOOP, David. Resonancia siniestra. El oyente como médium. Buenos Aires: Caja Negra, 2016.
WISNIK, José Miguel. O som e o sentido. 2. ed. São Paulo: Companhia das Letras, 1989.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Felipe Martini
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
The submission of originals to this journal implies the transfer, by the authors, of the printed and digital publication rights. The copyrights for the published articles belong to the author, with the rights of the journal over the first publication. The authors can only use the same results in other publications, clearly indicating this journal as the source of the original publication. Because we are an open-access journal, the free-of-charge,educational, scientific, and non-commercial use of the papers is allowed, as long as the source is cited.
Authorship
Any person who has effectively participated in the conception of the study, the development of the experimental part, the analysis and interpretation of data and the final wording, is considered as an author. By submitting an article for publication in E-Compós Journal, the author agrees with the following terms: 1. The author keeps the rights on the article, but its publication in the journal automatically implies the full and exclusive disposal of the copyright rights for the first edition, without payment. 2. The ideas and opinions expressed in the article are the sole responsibility of the author, not necessarily reflecting the views of the journal. 3. After the first publication, the author is authorized to take additional contracts, independent of the journal, for the dissemination of the paper by other means (e.g. when publishing in the institutional repository or as a book chapter), provided that the complete citation of the original publication. 4. The author of a published article is allowed and is stimulated to distribute his work online, always with the proper citation of the first edition.
Conflicts of interest and research ethics
If the developed research or the publication of the article may raise doubts as to potential conflicts of interest, the author should declare, in a final note, that no links to funding bodies have been omitted, as well as to commercial or political institutions. Similarly, the institution to which the author is bound should be mentioned, as well as others that may have collaborated in the execution of the study, evidencing that there are no conflicts of interest with the result already presented. It is also necessary to inform that the interviews and experiences involving human beings have obeyed the established ethical procedures for scientific research. The names and addresses informed in this journal will be used exclusively for the services provided by this publication, not made available for other purposes or to third parties. The copyrights belong exclusively to the authors. The licensing rights used by the journal consist in the Creative Commons Attribution 4.0 (CC BY 4.0) license: sharing (copying and distribution of the material in any media or format) and adaptation (remix, transformation and creation of material from licensed content for any purposes, including commercial) are permitted.