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Locating publics forms of social order in an electronic music scene /

Florian Grote investigates how a local Berlin music scene integrates online media into its cultural practice, and why located interaction in clubs and at concert events remains one of the most important forms of communication. Based on detailed empirical data and innovative analytical methods, socia...

Full description

Main Author: Grote, Florian,
Other Authors: SpringerLink (Online service)
Format: eBook
Language: English
Published: Wiesbaden : Springer VS, 2014.
Physical Description: 1 online resource (xvi, 250 pages) : illustrations.
Table of Contents:
  • Ch. 1 Social and Economical Contexts
  • 1.1.The Notion of the Network
  • 1.1.1.The Next Society and its Cultures
  • 1.1.2.Cultures
  • 1.1.3.Cultural and Artistic Practice
  • 1.1.4.Social Space
  • 1.2.Electronic Musicians in the Age of Networks
  • 1.2.1.Computers: Ubiquitous Production Machines
  • 1.2.2.A Typical Production Setup
  • 1.2.3.Producer Publics
  • 1.3.Communicating About Music
  • 1.3.1.What Can and Cannot be Said About Music?
  • 1.3.2.Art and Meaning
  • 1.4.Preconditions for Observation.
  • 1.4.1.The Notion of Distinction
  • 1.4.2.A Calculus of the Social
  • 1.4.3.Networks From Distinctions
  • 1.4.4.Observing Observers
  • 1.4.5.Analytical Strategy
  • 1.5.Distinguishing Styles and Scenes
  • 1.5.1.The Mechanism of Comparison
  • 1.5.2.Differentiation
  • 1.6.Economics or Art
  • Lots of Music, Nearly no Sales
  • 1.7.Berlin: The "Center of the Universe" for Electronic Music
  • 1.7.1.Techno Music and the Berghain Mania
  • 1.7.2.In the Shadow of Berghain
  • 1.7.3.Music Technology Manufacturers
  • 1.7.4.Hired Guns With Record Deals.
  • Ch. 2 Observing a Scene of Electronic Music Culture
  • 2.1.Methods of Data Collection and Analysis
  • 2.1.1.Web Pages
  • 2.1.2.Interviews
  • 2.1.3.Participatory Observation
  • 2.1.4.MySpace Survey
  • 2.1.5.Coding
  • 2.1.6.Networks from Codes
  • 2.2.Tracing a Music Scene: The Label and its-Artists
  • 2.2.1.Observing Differences and Relations
  • 2.2.2.Persons
  • 2.3.Persons in Networks
  • 2.3.1.Network Domains
  • 2.4.Publics and Audiences
  • 2.4.1.Baiting Publics
  • 2.4.2.Offers for Switching Generate Interest
  • 2.4.3.Operating Publics
  • 2.4.4.Different Public Situations
  • 2.4.5.Audiences out of Publics
  • 2.4.6.Audiences as Performers.
  • Ch. 3 Online Publics and Practices
  • 3.1.MySpace
  • 3.1.1.Platform
  • 3.1.2.MySpace Case Study: Artist O
  • 3.1.3.MySpace Case Study: Label C
  • 3.2.Facebook
  • 3.2.1.Facebook Case Study: Artist T
  • 3.2.2.Facebook Case Study: Label C / Label Owner H
  • 3.3.Control Efforts
  • 3.4.The Formation of Online Publics
  • 3.4.1.Building Publics
  • 3.4.2.Novelty and Selection
  • 3.4.3.Comparisons and Valuation Chains
  • 3.4.4.Different Potentials
  • 3.4.5.Music Releases
  • 3.4.6.Switchings
  • 3.4.7.Generalizations and Casual Intimacy.
  • Ch. 4 Performance Events: Cultural and Artistic Practice in Social Space
  • 4.1.Format I: Label Event with Live Performance
  • 4.1.1.Interaction Systems and Performances
  • 4.1.2.Case Study: The Label Cs "Allnighter" Event
  • 4.1.3.The Social Form of the Performance Event
  • 4.1.4.Artistic Practice and Technology
  • 4.1.5.Control Efforts
  • 4.2.Format II: Concert Events
  • 4.2.1.Case Study: The Duo Concert
  • 4.3.On Formats.
  • Ch. 5 Integrating Online Publics and Performance Events
  • 5.1.Experienced Potential-Builders
  • 5.2.A Casual Intimacy
  • 5.3.Interaction and Disciplines
  • 5.4.Integration.