Humana, boneca ou ciborgue? Humana, apesar de tudo: Criação musical-artística nos limites da pós-humanidade e do feminismo maquínico
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Resumo
Este artigo analisa a produção artística de Poppy como dramatização da feminilidade maquínica no cruzamento entre música popular, pós-humanismo feminista e debates contemporâneos sobre inteligência artificial (IA). Partindo da premissa de que Poppy não é uma criação de IA, argumenta-se que a sua persona antecipa e encena tensões hoje intensificadas pela IA generativa, designadamente as relativas à autenticidade, à repetição, à voz processada, à autoria e à mediação tecnológica do corpo. Adota-se uma abordagem qualitativa e interpretativa, assente num estudo de caso único e na análise textual, visual e semiótica de três faixas e respetivos videoclipes: Lowlife (2015), Computer Boy (2017) e Interweb (2017). O enquadramento cruza o pós-humanismo feminista (Haraway, 1991, 2000; Braidotti, 2013), a crítica tecnopolítica do género (Butler, 1990, 2014; Preciado, 2018), a sociologia da racionalização e da música e contributos ecofeministas. A análise identifica uma progressão entre vigilância, desejo tecnológico e agência maquínica e sustenta que a ambivalência entre emancipação e sujeição, longe de constituir uma indefinição, opera como estratégia de retenção na economia da atenção digital. Conclui-se que a persona de Poppy constitui um caso heurístico para compreender como género, corpo, tecnologia e autenticidade são produzidos e disputados na cultura digital contemporânea.
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Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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