GG Albuquerque

MACETAMENTO NO BEAT PEGA HACKER

Introduction

macetamento no beat pega hacker. Mergulhe nas metodologias criativas e epistemologias sonoras de músicas eletrônicas afro-diaspóricas. Uma análise decolonial e antirracista sobre tecnologia e hackeamento.

Abstract

Este artigo apresenta uma proposta teórico-conceitual para investigar metodologias criativas e epistemologias sonoras de culturas de música eletrônica afro-diaspóricas, como o funk mandelão de São Paulo, o kuduro de Angola e a batida de Lisboa. O texto destaca a dimensão cultural e política da tecnologia, bem como uma dimensão técnica da cultura, a partir de um levantamento histórico e crítico dos principais teóricos da filosofia técnica e da tecnologia. A partir disso, são apresentadas perspectivas teórico-epistemológicas que descortinam o mito da “neutralidade” tecnológica e fornecem bases para uma reflexão decolonial e antirracista sobre a tecnologia, que incorpora o "erro", o improviso, a gambiarra, a pirataria, o hackeamento como elementos constitutivos de uma abordagem criativa e racializada dos dispositivos, ressaltando a diversidade da agência tecnológica.

Review

This article, "MACETAMENTO NO BEAT PEGA HACKER," introduces a compelling theoretical-conceptual framework aimed at investigating the creative methodologies and sonic epistemologies prevalent in Afro-diasporic electronic music cultures. By focusing on influential genres like São Paulo's funk mandelão, Angola's kuduro, and Lisbon's batida, the paper proposes to unpack the inherent cultural and political dimensions of technology, alongside the technical facets embedded within culture itself. This foundational premise establishes a critical lens for understanding how these vibrant musical traditions are shaped by, and in turn shape, technological engagement. The article's approach is rooted in a historical and critical survey of prominent theorists in technical philosophy and technology, which serves to foreground a crucial intervention: the dismantling of the myth of technological neutrality. From this theoretical grounding, the authors promise to develop decolonial and anti-racist epistemological perspectives on technology. A key strength of this proposed work lies in its embrace of concepts often marginalized or pathologized – such as "erro" (error), improvisation, *gambiarra* (make-do/hack), piracy, and hacking – re-framing them as constitutive elements of a creative and racially informed engagement with technological devices. By centering these alternative practices, the article makes a significant contribution to broadening our understanding of technological agency, underscoring its diverse manifestations. This framework promises to be highly relevant for scholars in ethnomusicology, Science and Technology Studies (STS), critical race theory, and postcolonial studies, offering a nuanced and critically engaged perspective on the interplay between race, technology, and cultural production. The proposed conceptualization is timely, shedding light on the innovative ways marginalized communities subvert and repurpose technology, thereby enriching the discourse on global technological practices and their socio-cultural implications.

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