<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-0180</journal-id>
<journal-title><![CDATA[Convergências - Revista de Investigação e Ensino das Artes]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Convergências]]></abbrev-journal-title>
<issn>2184-0180</issn>
<publisher>
<publisher-name><![CDATA[Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-01802023000100061</article-id>
<article-id pub-id-type="doi">10.53681/c1514225187514391s.31.168</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[E-Music: Uma Harmonia (In)Familiar]]></article-title>
<article-title xml:lang="en"><![CDATA[e-Music: an (un)heimlich harmony]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Maeso]]></surname>
<given-names><![CDATA[Benito Eduardo Araújo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alexandre]]></surname>
<given-names><![CDATA[Tarik Vivan]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Instituto Federal de Educação Ciência e Tecnologia do Paraná  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Pontifícia Universidade Católica do Paraná  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>05</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>05</month>
<year>2023</year>
</pub-date>
<volume>16</volume>
<numero>31</numero>
<fpage>61</fpage>
<lpage>74</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-01802023000100061&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-01802023000100061&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-01802023000100061&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo A música eletrônica (e-music) caracteriza-se pela produção de sonoridades sintetizadas a partir do uso de equipamentos e instrumentos eletrônicos e tem suas raízes nas mudanças de paradigmas estéticos e epistemológicos ocorridas durante o século XIX e XX, refletindo também, a crise representativa e ontológica dos objetos artísticos. A partir deste postulado, pode-se refletir sobre a produção da arte contemporânea e, principalmente, da música eletrônica sob duas chaves da estética e da subjetividade atuais: as imagens técnicas de Flusser e Benjamin e o infamiliar freudiano. Como os elementos que destacam a e-music enquanto gênero são a sua construção &#8220;em camadas&#8221; e a utilização de recursos experimentais e não-humanos, como o ruído e os samples, a soma de tais elementos seria capaz de provocar sensações de desconforto e, simultaneamente, evocar elementos familiares, remetendo aos debates que relacionam Estética, psicanálise e filosofia da técnica?]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Electronica is characterized by the use of electronical instruments and equipment to produce synthesized and unnatural sounds and harmonies. It was originated from the changes in the aesthetical and epistemological paradigms occurred in the end of XIXth and the beginning of XXth Centuries. Also, e-music reflects the representational crisis of the objects of Art. Using this background as a standpoint, this essay aims to investigate the production of contemporary art and, specifically, electronical music, under two keys: the technical images of Flusser and Benjamin and the Freudian concept of &#8220;unheimlich&#8221;. The question that drives this investigation can be resumed hereinafter: the sum of its characteristics (its layered construction, use of noises, samples, experimental and non-human resources) enables electronic music to generate sensations of discomfort or displacement to evoke a familiar and warm atmosphere? If so, it is necessary to establish relations between Aesthetics, Psychoanalysis and Philosophy of Technique.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Música eletrônica]]></kwd>
<kwd lng="pt"><![CDATA[Infamiliar]]></kwd>
<kwd lng="pt"><![CDATA[Representação]]></kwd>
<kwd lng="pt"><![CDATA[Experimentalismo]]></kwd>
<kwd lng="pt"><![CDATA[Inumano]]></kwd>
<kwd lng="en"><![CDATA[Electronic music]]></kwd>
<kwd lng="en"><![CDATA[Uncanny]]></kwd>
<kwd lng="en"><![CDATA[Representation]]></kwd>
<kwd lng="en"><![CDATA[Experimentalism]]></kwd>
<kwd lng="en"><![CDATA[Inhuman]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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