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Podcasting
Podcasting burst onto the media landscape in the early 2000s. At the time, there were hopes it might usher in a new wave of amateur and professional cultural production and represent an alternate model for how to produce, share, circulate and experience new voices and perspectives. Twenty years later, podcasting is at a critical juncture in its young history: a moment where the early ideals of open standards and platform-neutral distribution are giving way to services that prioritize lean-back listening and monetizable media experiences. This book provides an accessible and comprehensive account of one of digital media’s most vibrant formats. Focusing on the historical changes shaping podc...
Selling Digital Music, Formatting Culture
Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the “digital music commodity,” Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music’s meanings and uses. Through case studies of five key technologies—Winamp, metadata, Napster...
Appified
Snapchat. WhatsApp. Ashley Madison. Fitbit. Tinder. Periscope. How do we make sense of how apps like these-and thousands of others-have embedded themselves into our daily routines, permeating the background of ordinary life and standing at-the-ready to be used on our smartphones and tablets? When we look at any single app, it's hard to imagine how such a small piece of software could be particularly notable. But if we look at a collection of them, we see a bigger picture that reveals how the quotidian activities apps encompass are far from banal: connecting with friends (and strangers and enemies), sharing memories (and personally identifying information), making art (and trash), navigating spaces (and reshaping places in the process). While the sheer number of apps is overwhelming, as are the range of activities they address, each one offers an opportunity for us to seek out meaning in the mundane. Appified is the first scholarly volume to examine individual apps within the wider historical and cultural context of media and cultural studies scholarship, attuned to issues of politics and power, identity and the everyday.
Selling Digital Music, Formatting Culture
Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the “digital music commodity,” Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music’s meanings and uses. Through case studies of five key technologies—Winamp, metadata, Napster...
Engaging Social Media in China
Introducing the concept of state-sponsored platformization, this volume shows the complexity behind the central role the party-state plays in shaping social media platforms. The party-state increasingly penetrates commercial social media while aspiring to turn its own media agencies into platforms. Yet state-sponsored platformization does not necessarily produce the Chinese Communist Party’s desired outcomes. Citizens continue to appropriate social media for creative public engagement at the same time that more people are managing their online settings to reduce or refuse connection, inducing new forms of crafted resistance to hyper-social media connectivity. The wide-ranging essays presen...
Saving New Sounds
Over seventy-five million Americans listen to podcasts every month, and the average weekly listener spends over six hours tuning into podcasts from the more than thirty million podcast episodes currently available. Yet despite the excitement over podcasting, the sounds of podcasting’s nascent history are vulnerable and they remain mystifyingly difficult to research and preserve. Podcast feeds end abruptly, cease to be maintained, or become housed in proprietary databases, which are difficult to search with any rigor. Podcasts might seem to be highly available everywhere, but it’s necessary to preserve and analyze these resources now, or scholars will find themselves writing, researching,...
Popular Music in a Digital Music Economy
In the late 1990s, the MP3 became the de facto standard for digital audio files and the networked computer began to claim a significant place in the lives of more and more listeners. The dovetailing of these two circumstances is the basis of a new mode of musical production and distribution where new practices emerge. This book is not a definitive statement about what the new music industry is. Rather, it is devoted to what this new industry is becoming by examining these practices as experiments, dedicated to negotiating what is replacing an "object based" industry oriented around the production and exchange of physical recordings. In this new economy, constant attention is paid to the production and licensing of intellectual property and the rise of the "social musician" who has been encouraged to become more entrepreneurial. Finally, every element of the industry now must consider a new type of audience, the "end user", and their productive and distributive capacities around which services and musicians must orient their practices and investments.
Radiohead and the Resistant Concept Album
How the British rock band Radiohead subverts the idea of the concept album in order to articulate themes of alienation and anti-capitalism is the focus of Marianne Tatom Letts's analysis of Kid A and Amnesiac. These experimental albums marked a departure from the band's standard guitar-driven base layered with complex production effects. Considering the albums in the context of the band's earlier releases, Letts explores the motivations behind this change. She places the two albums within the concept-album/progressive-rock tradition and shows how both resist that tradition. Unlike most critics of Radiohead, who focus on the band's lyrics, videos, sociological importance, or audience reception, Letts focuses on the music itself. She investigates Radiohead's ambivalence toward its own success, as manifested in the vanishing subject of Kid A on these two albums.
The Subject of Aesthetics
How does art influence us? In The Subject of Aesthetics, Tone Roald approaches aesthetics as a psychological discipline, showing how works of art challenge our habitual ways of perceiving the world. While aesthetics has traditionally been a philosophical discipline, Roald discusses how it is very much alive in the realm of psychology – a qualitative psychology of lived experience. But what actually constitutes an aesthetics of lived experience? The book answers that question by analyzing people’s own engagement with visual art. What emerges is that the object of aesthetics is indeed the subject.
The Thirty-Year Genocide
A Financial Times Book of the Year A Foreign Affairs Book of the Year A Spectator Book of the Year “A landmark contribution to the study of these epochal events.” —Times Literary Supplement “Brilliantly researched and written...casts a careful eye upon the ghastly events that took place in the final decades of the Ottoman empire, when its rulers decided to annihilate their Christian subjects...Hitler and the Nazis gleaned lessons from this genocide that they then applied to their own efforts to extirpate Jews.” —Jacob Heilbrun, The Spectator Between 1894 and 1924, three waves of violence swept across Anatolia, targeting the region’s Christian minorities. By 1924, the Armenians,...
