This thesis investigates the Kondzilla project as a case of reconfiguration of Brazilian audiovisual production in light of the emergence of platformized worlds. It proposes a theoretical and empirical cartography that understands multiplatform projects as sociotechnical networks that articulate aesthetics, technology, economy, and culture. The concept of "platformized world" developed here is formulated as a methodological proposal within platform studies (POWELL et al., 2020), through a dialogue between the theories of the art world (BECKER, 2010), possible worlds (ECO, 2002), actor-network theory (LATOUR, 2012), and platformization (D’ANDREA, 2020). By analyzing the audiovisual productions of the Kondzilla channel — including the series Sintonia (Netflix, 2019–2025), its YouTube music videos, and the Kondzilla portal — this work reveals how peripheral communication practices and creative business models related to funk are transformed into symbolic structures within the algorithmic and corporate logic of platforms. The research aims to contribute to media and platform studies by proposing an analytical approach to audiovisual performance in these environments, thereby highlighting the modes of value production and agency in platform capitalism.