Le paradoxe y est employé afin d’assimiler la consommation de masse et le progrès technologique qui sont à la fois haïs et incarnés. Cet album interroge les conditions de sa création en renversant les cadres de représentation. OK Computer marque un virage important dans la carrière de Radiohead. OK Computer being thoroughly transmedia, all the elements (musical, linguistic and visual) surrounding its 1997 release are taken into account in this article, which analyses the paradox of mass-consumption denunciation, engages in cryptic decoding, and envisions this record as the first step in the band’s innovative adjustments to new technologies, be they musical or commercial. In spite of its ironic playfulness, OK Computer will not escape the commercial and technological mutations it scrutinizes: it is therefore acknowledging, in a performative way, the computer’s win over the band’s scope and music. A man-machine relationship is developed as a socio-political metaphor and a straightforward report, including the use of computers in the crafting of their art. In an urban landscape of sedated “consumer-robots”, the band embraces the digital era and fuses pop-rock songs with electronic distortion. It uses paradox in order to assimilate the mass-consumption and technological progress it both abhors and embodies. It questions the conditions of its making by subverting representative frames. OK Computer triggers a major shift in Radiohead’s career.
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