Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Faria, Luciana Carolina Fernandes de
 |
| Orientador(a): |
Basbaum, Sérgio Roclaw |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Tecnologias da Inteligência e Design Digital
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| Departamento: |
Faculdade de Ciências Exatas e Tecnologia
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| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/22179
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Resumo: |
The research aims to describe electronic music games in order to comprehend what the possibilities are of listening, that the player can have in contact with them. It was necessary to investigate how musical perception is understood from the Cartesian and representation paradigms, promoting a reflection about the founded listening in an embodied approach. We have woven a discussion about the trend that the classical cognitive theories has exchange the world experience for this representation in comprehending the cognitive process, implying a logical reversal. Based on the work of Ingold (2015), Varela, Thompson and Rosch (2003), Merleau-Ponty (2011), Maturana and Valela (2001), Noë (2004), Basbaum (2005, 2008), Oliveira (2018; 2019), among others with researchers that approaches 4E Cognition theories, we have defended the conception of listening as the action of incarnate and situated being. Furthermore, based on the embodied approach, we explored the notion of listening place to comprehend the listening possibilities that are current in life and in the electronic games. We realized that some of described games adopt the learning symbol of the formal musical writing as objective, putting the listening in the background; others treat listening as an ally to the technical domain of an instrument, becoming a means of teaching, and not as central question (the main focus); even inserting some representations of written music enable the player to more actively listen in other games, which directly impacts the perception of listening patterns. On the other hand, in the game Flower, we realized that the listening is conceived as action of the player in the virtual environment, they compose their listening place focus through interaction and decision-making |
