| dc.description.abstract | This research takes as its object of study the chipmusic scene, considering it as an update of hardware virtuality. For this, it used the technocultural offeree, a way of thinking technologies culturally and understand the technological properties in action in culture, which focuses deconstruct the look of the researcher. The objective is to identify how and why the hardware lasts in different products in this scene, for example, in the album covers, in the songs recorded, on the websites or in videos played in live performances. To analyze these empirical were conducted interviews and used the methods intuition, mapping and dissection, procedures that showed that the products of chipmusic incorporate traces of hardware given stage of the technique, which is slightly earlier than the culture of software. These traces are also related to contemporary microcultures (hacker, gamer, retro) that crosses and are reference for the scene, in addition to trigger images-reminder that, in turn, are part of the memory that equipment, the microcultures and technique stage that today are rescued in chipmusic. Thus, one comes to the realization that the hardware can be thought of as a virtuality that permeates society and culture, it not only upgrading equipment in a, b or c, but also in various cultural events. The actions of chipmusic users therefore are a way to ensure cultural prominence and aura of hardware at a historic time when the software are made increasingly present and increasingly rapid obsolescence. | en |
