Introductions

This is the introduction to the book with the overall description: This is a critical time in design. Concepts and practices of design are changing in response to historical developments in the modes of industrial design production and consumption. Indeed, the imperative of more sustainable development requires profound reconsideration of design today. Theoretical foundations and professional definitions are at stake, with consequences for institutions such as museums and universities as well as for future practitioners. This is ‘critical’ on many levels, from the urgent need to address societal and environmental issues to the reflexivity required to think and do design differently

Concluding dialogue

This is a chapter in a book with the overall description: This is a critical time in design. Concepts and practices of design are changing in response to historical developments in the modes of industrial design production and consumption. Indeed, the imperative of more sustainable development requires profound reconsideration of design today. Theoretical foundations and professional definitions are at stake, with consequences for institutions such as museums and universities as well as for future practitioners. This is ‘critical’ on many levels, from the urgent need to address societal and environmental issues to the reflexivity required to think and do design differently

Distances in the field : mapping similarity and familiarity in the production, curation and consumption of Australian art music

This thesis provides a timely intervention in the investigation of cultural fields by employing traditional and new data analytics to expand our understanding of fields as multi-dimensional sites of production, curation and consumption. Through a case study of contemporary Australian art music, the research explores the multiple ways in which the concept of ‘distance’ contributes to how we conceive of and engage with fields of artistic practice. While the concept of distance has often been an implicit or axiomatic concern for cultural sociology, this thesis foregrounds how it can be used to analyse fields from multiple perspectives, at multiple scales of enquiry and using diverse methodologies. In doing so, it distinguishes between notions of distance in the related concepts of similarity and familiarity. In the former, the relative proximities of cultural producers can be mapped to discern and contrast the organising principles which underlie different perspectives of a field. In the latter, the degree of an individual’s familiarity with an item or genre can be included in theorisations of cultural preferences and their social dimensions. This is disrupted in a field such as Australian art music, however, as its emphasis on experimentation and innovation presents barriers to developing familiarity. Distance can be considered a defining characteristic of this field, and motivates its selection as a critical case study from which to investigate how audiences form attachments to distant musical sounds. The investigation of distance from multiple perspectives, using different scales of analysis and across a series of focal points in the lifecycle of artist practice, provides an analysis of Australian art music in terms of the tensions which emerge from these intersecting representations of the field. The singular spatial representation of ‘objective relations’ in a field, and a concern with power and domination – as found in the approach of Bourdieu – is replaced by a multiplicity of sets of relations and a concern with their organising principles and juxtapositions. The thesis argues that the actor constellations which distances produce are intimately linked to our capacity to engage with fields as discrete and knowable domains of cultural practice. Beyond our capacity to know a cultural field, it also argues for the importance of reconsidering how we form attachments to distant musical tastes. As an avant-garde genre which embraces foreign and confounding sounds, audiences require the capacity to draw on a range of consumption strategies and techniques to successfully engage with and value the unfamiliar

Creativity and Culture in Copyright Theory

Creativity is universally agreed to be a good that copyright law should seek to promote, yet copyright scholarship and policymaking have proceeded largely on the basis of assumptions about what it actually is. When asked to discuss the source of their inspiration, individual artists describe a process that is intrinsically ineffable. Rights theorists of all varieties have generally subscribed to this understanding, describing creativity in terms of an individual liberty whose form remains largely unspecified. Economic theorists of copyright work from the opposite end of the creative process, seeking to divine the optimal rules for promoting creativity by measuring its marketable byproducts. But these theorists offer no particular reason to think that marketable byproducts are either an appropriate proxy or an effective stimulus for creativity (as opposed to production), and more typically refuse to engage the question. The upshot is that the more we talk about creativity, the more it disappears from view. At the same time, the mainstream of intellectual property scholarship has persistently overlooked a broad array of social science methodologies that provide both descriptive tools for constructing ethnographies of creative processes and theoretical tools for modeling them

Ways of feeling: The transformation of emotional experience in music listening in the context of digitisation

This dissertation argues that digitisation and Internet technologies are changing the emotional experience of music listening and explores the ways in which they may do so. I have conducted a cyberethnography of Internet users and perform a language analysis of their experiences. I synthesise this approach with the field of somatechnics, in order to understand the body as always-already positioned in relation to the techno-social schema

A Critique of Immaterial Labour: Dublin\u27s Independent Music Scene as a Strategic Site of Investigation

This study critiques the autonomist concept of immaterial labour. Both diagnostic and prescriptive, the term immaterial labour was coined by Lazzarato (1997), but became synonymous with Hardt and Negri’s (2001a; 2004; 2010) ‘Empire’ trilogy. They describe post-industrial labour as characterised by the production of immaterial commodities such as culture, creativity and information. Seeing it as a hegemonic form of production, accelerationist Marxists Hardt and Negri (ibid.) suggest that immaterial labour has the radical potential to restructure socio-economic life, resulting in spontaneous communism. However, their thesis has been subject to critique as it homogenises post-industrial production and lacks empirical engagement. This study seeks to address this deficit by using Dublin’s independent music scene as a strategic site of investigation. Independent music production became a logical site of enquiry, as its emphasis on immanent cooperation, urban life and autonomy are necessary elements of the immaterial labour Hardt and Negri (ibid.) seek to describe. Through in-depth interviews, an online questionnaire and further supplementary methods, this research gathers data on the subjective experience of immaterial labour in order to highlight possible critiques of the autonomist concept. Through an analysis of this data, this thesis argues for provisional adaptations to Hardt and Negri’s (ibid.) immaterial labour, based on their concepts of self-valorisation, alienation, immeasurability and immanent cooperation

Developing the New Zealand Soundmap: An exploration of soundmap practice, site listening, locative media and the sound environment

This text is an exegesis written in accompaniment to the development of the New Zealand Soundmap. The origin and development of soundmap practice and the emergence and development of related environmental sound practices are detailed. The exegesis concludes with an exposition of the development of the New Zealand Soundmap itself. Soundmap practice emerged from the sonic explorations of the World Soundscape Project, who coming out of Simon Fraser University of Burnaby, British Columbia, Canada, pioneered the first soundmaps in the early 1970’s. From its origins soundmap practice has spread and developed into its current form as a new media practice. This thesis deals with the development of a regional web-based soundmap for New Zealand. Various discursive strains from media studies, sonic arts, and phenomenological philosophy are woven together to explain the impetus, and value of soundmap practice and related environmental sound practices such as soundwalks and site-listening. The thesis ends with a critical analysis of successes and failures of the project towards its stated goal: to facilitate awareness of an engagement with the local sound environment

Understanding Musicking on Social Media: Music Sharing, Sociality and Citizenship

Based on online and offline ethnographic fieldwork among the Spanish community in London, this thesis investigates why people circulate and share music on social media platforms, particularly within a context of migration. Written from the perspective of an insider-outsider, it combines research data from ethnographic participant observation and interviews to understand how music media circulates online, studying the different roles it fulfils within these contexts as different forms of musicking. The thesis responds to these questions by addressing six areas. Chapter 1 explores the uses of music to perform and articulate cultural and gender identity on social media profiles. Chapter 2 investigates how music sharing and compiling can be used to maintain relationships and social capital and to participate in transnational sociality. Chapter 3 addresses how the circulation of music parody as citizen engagement in contexts of political conflict such as the Brexit and Catalonian referendums gives rise to temporary political alliances in the form of citizen assemblages. Chapter 4 considers the circulation of music on social media from the perspective of fandom and how it is influenced by post-object ephemeral and reflexive practices. Chapter 5 analyses how the ubiquitous and imagined character of online music media fosters its circulation as a silent and visual element of online sociality, effectively generating practices of imagined listening. Chapter 6 examines ritualistic practices of music exchange on social media and their relationship with emerging moral economies of music circulation as foundational elements of online sociality and citizenship. I conclude by arguing that, in circulating music online through their social media and streaming profiles, users develop new forms of (im)material culture-making. Online musicking enables new ways of being in the world, turning the intangible, time-bound aural and visual experience of online music into something that has a materialised impact in the social lives of users. Through the circulation of music online users form, dissolve and inhabit temporary music-based alliances and expand their social worlds