Techno-visioni, diaspore e iperstizioni. Il principio del campionamento sonico e visuale alla base della critica della ragione occidentale
Abstract
Techno-visions, diasporas and hyperstitions. The sonic-visual sampling’s principle and the critique of western reason
At the dawn of the 21st century, humanity wakes up immersed in a data bath, on both sides of the screens. Immersive technologies and artificial intelligence seem to dominate the contemporary scenario. But what were the prodromes that generated such a techno-societal condition? The essay aims to investigate the twentieth-century matrices that forged the cultural industry starting from two languages: film and music. As the paradigm of reproducibility marked the end of the Millennium, assembly (audio and visual editing) and sampling became the two predominant criteria for the production of cultural content (still and moving images, and electronic music) and, at the same time, were at the basis of the recreation of reality, its representation and manipulation. Therefore, through Sound Studies and Visual Culture, we have chosen to deal with the field of techno music, according to a sociosemiotic perspective, in order to illustrate a phenomenon that well highlights, in its rituals, practices and imagery, the mutation taking place from modernity to the crisis of the Western paradigm, attempting to identify the new horizons arising from diasporas, crises and hyperstitions.
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DOI: https://doi.org/10.7413/228181381941
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