This article aims to investigate whether phonographic activity can be interpreted as a ritual process, as well as its meanings in the cultural context of a globalized capital, São Paulo, located in southeastern Brazil. Based on documental, bibliographical and ethnographic material regarding work in independent recording studios, I try to account for this hypothesis in dialogue with a socio-anthropological tradition that has constituted two theoretical axes of the field under examination: that of sociotechnics (Bates, 2019; Latour, 2012; Hennion, 1989; Meintjes, 2005) and that of performance (Cook, 2003; Goffman, 2011; Schechner, 2013).
I have elsewhere argued that spaces dedicated to audio capture and processing are imbued with enchantment, a general sensation-manipulation property that directs perception in a certain way. As part of the technical system of arts and their fantasies (Gell, 1988), these environments show that the technological universe is lived as a socially regulated ...
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