Advertisement

The ‘Creative Listener:’ Internet, Music, and the Computer-Bodymind Somatechnic

  • Laura Glitsos
Chapter
Part of the Pop Music, Culture and Identity book series (PMCI)

Abstract

This chapter focuses on the Internet as a technology of music listening as it is accessed exclusively through fixed-point personal computers. The author is concerned with how the listener actively and creatively produces their own listening experience as it is mediated through the fixed-point personal computer. It is asserted that the coupling of the bodymind and the personal computer produces a unified field of relations, an artefact which we can examine through the lens of somatechnics. This unified field of relations, what is referred to as the ‘personal computer bodymind,’ or for short the PCBM, realigns and reconstitutes listening pleasure in unexpected ways because it enables unique and creative listening practices contingent upon the functional nature of Internet-computing technologies and they are expressed in the interactive Web 2.0 culture. The chapter argues that the PCBM produces a new ‘type’ of listener: the creative listener.

References

  1. Bull, Michael. 2014. Sensory Media: Virtual Worlds and the Training of Perception. In A Cultural History of the Senses, ed. Constance Classen, J.P. Toner, Richard Newhauser, Herman Roodenburg, Anne Vila, and David Howes, 219–241. London: Bloomsbury.Google Scholar
  2. Calore, Michael. 2009. Vaporware 2009: Inhale the Fail. Wired, December 21. http://www.wired.com/2009/12/vaporware-2009-inhale-the-fail/
  3. Celma, Òscar, and Paul Lamere. 2011. If You Like Radiohead, You Might Like This Article. AI Magazine 32 (3): 57–66.CrossRefGoogle Scholar
  4. ChiptuneGhosts. 2015. Why I Think We Like Vaporwave. Reddit.com. https://redd.it/2zul91
  5. Copland, Aaron. 1952. Music and Imagination. Cambridge, MA: Harvard University Press.Google Scholar
  6. Csikszentmihalyi, Mihaly, and Rustin Wolfe. 2014. New Conceptions and Research Approaches to Creativity: Implications of a Systems Perspective for Creativity in Education. In The Systems Model of Creativity: The Collected Works of Mihaly Csikszentmihalyi, ed. Mihaly Csikszentmihalyi, 161–184. Dordrecht: Springer Netherlands.Google Scholar
  7. Davis, Colin. 2005. Hauntology, Spectres and Phantoms. French Studies 59 (3): 373–379.CrossRefGoogle Scholar
  8. Durkin, Erin. 2018. Hacker Sentenced to Prison for Role in Jennifer Lawrence Nude Photo Theft. The Guardian, August 30. https://www.theguardian.com/technology/2018/aug/29/nude-photo-hacker-prison-sentence-jennifer-lawrence-victims
  9. Galil, L. 2013. Vaporwave and the Observer Effect. Chicago Reader, February 19. http://www.chicagoreader.com/chicago/vaporwave-spf420-chaz-allen-metallic-ghosts-prismcorp-veracom/Content?oid=8831558
  10. Glitsos, Laura. 2016. Ways of Feeling: The Transformation of Emotional Experience in Music Listening in the Context of Digitisation. PhD diss., Curtin University.Google Scholar
  11. Ham, Robert. 2012. Gatekeeper Exo: AllMusic Review by Robert Ham. Allmusic, July 17. http://www.allmusic.com/album/exo-mw0002387718
  12. Hansen, Mark. 2006. Bodies in Code. New York: Routledge.Google Scholar
  13. Haraway, Donna. 1987. A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s. Australian Feminist Studies 2 (4): 1–42.CrossRefGoogle Scholar
  14. Hargreaves, David, Jonathan James Hargreaves, and Adrian C. North. 2011. Imagination and Creativity in Music Listening. In Musical Imaginations: Multidisciplinary Perspectives On Creativity, Performance and Perception, ed. David Hargreaves, Dorothy Miell, and Raymond MacDonald, 156–172. Oxford: Oxford University Press.CrossRefGoogle Scholar
  15. Harper, Adam. 2012. Comment: Vaporwave and the Pop-Art of the Virtual Plaza. Dummy Mag, July 12. https://www.dummymag.com/features/adam-harper-vaporwave
  16. ———. 2015. Pattern Recognition Vol. 8.5: The Year in Vaporwave. Electronic Beats. http://www.electronicbeats.net/vol-8-5-the-year-in-vaporwave/
  17. Heidegger, Martin. 1977. The Question Concerning Technology, and Other Essays. New York: Harper & Row.Google Scholar
  18. Jones, Simon, and Thomas Schumacher. 1992. Muzak: On Functional Music and Power. Critical Studies in Mass Communication 9 (2): 156–169.CrossRefGoogle Scholar
  19. Kristeva, Julia. 1982. Powers of Horror: An Essay on Abjection. New York: Columbia University Press.Google Scholar
  20. Lanza, Joseph. 1995. Elevator Music: A Surreal History of Muzak, Easy-Listening and Other Moodsong. London: Quartet.Google Scholar
  21. LookingForVheissu. 2018. Regarding the Discovery Complaints. Reddit.com. https://redd.it/9214kr
  22. Manning, Erin, and Brian Massumi. 2012. Relationscapes: Movement, Art, Philosophy. Cambridge, MA: MIT Press.Google Scholar
  23. Marx, Karl and Engels Freidrich. [1848] 2007. Communist Manifesto. Radford, VA: Wilder Publications.Google Scholar
  24. McLuhan, Marshall, and Quentin Fiore. 1967. The Medium is the Massage. New York: Bantam.Google Scholar
  25. Priest, Eldricht. 2013. Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure. New York: Bloomsbury.Google Scholar
  26. Prior, Nick. 2018. Popular Music, Digital Technology and Society. London: Sage.Google Scholar
  27. Rawdon Wilson, Robert. 1995. Cyber(body)parts: Prosthetic Consciousness. In Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment, ed. Mike Featherstone and Roger Burrows, 239–260. London: Sage.CrossRefGoogle Scholar
  28. Ritzer, George, Paul Dean, and Nathan Jurgenson. 2012. The Coming Age of the Prosumer. American Behavioral Scientist 56 (4): 379–398.CrossRefGoogle Scholar
  29. Shan, Man-Kwan, Fang-Fei Kuo, Meng-Fen Chiang, and Suh-Yin Lee. 2009. Emotion-based Music Recommendation by Affinity from Film Music. Expert Systems with Applications 36 (4): 7666–7674.CrossRefGoogle Scholar
  30. Shildrick, Margrit. 2015. ‘Why Should Our Bodies End at the Skin?:’ Embodiment, Boundaries, and Somatechnics. Hypatia 30 (1): 13–29.CrossRefGoogle Scholar
  31. Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press.Google Scholar
  32. Steadman, Ian. 2012. The Bloop Mystery Has Been Solved: It Was Never a Giant Sea Monster. Wired, November 29. http://www.wired.co.uk/news/archive/2012-11/29/bloop-mystery-not-solved-sort-of
  33. Sterne, Jonathan. 1997. Sounds like the Mall of America: Programmed Music and the Architectonics of Commercial Space. Ethnomusicology 41 (1): 22–50.CrossRefGoogle Scholar
  34. Stratton, Jon. 2006. ‘So Tonight I’m Gonna Party Like It’s 1999’: Looking Forward to the Matrix. In The Matrix in Theory, ed. M. Diocaretz and S. Herbrechter, 27–51. Amsterdam: Rodopi.Google Scholar
  35. Sullivan, Nikki, and Samantha Murray, eds. 2009. Somatechnics: Queering the Technologisation of Bodies. Surrey: Ashgate.Google Scholar
  36. Trainer, Adam. 2016. From Hypnogia to Distroid: Postironic Musical Renderings of Personal Memory. In The Oxford Handbook of Music and Virtuality, ed. Sheila Whiteley and Shara Rambarran, 409–427. New York: Oxford University Press.Google Scholar
  37. Virilio, Paul. 1995. The Art of the Motor. Minneapolis: University of Minnesota Press.Google Scholar
  38. Ward, C. 2014. Vaporwave: Soundtrack to Austerity. Stylus, January 29. http://www.stylus.com/hzwtls
  39. Weiss, Gail. 1999. Body Images: Embodiment as Intercorporeality. New York: Routledge.Google Scholar
  40. Wiley, Norbert. 1988. The Micro-Macro Problem in Social Theory. Sociological Theory 6 (2): 254–261.CrossRefGoogle Scholar
  41. Wills, David. 2008. Dorsality: Thinking Back Through Technology and Politics. Minneapolis: University of Minnesota Press.Google Scholar
  42. Wolfenstein. 2015. Vaporwave: A Brief History. YouTube Video, 22:36. https://www.youtube.com/watch?v=PdpP0mXOlWM
  43. Yan Zheng, Caroline. 2017. Machinising Humans and Humanising Machines: Emotional Relationships Mediated by Technology and Material Experience. In Digital Bodies: Creativity and Technology in the Arts and Humanities, ed. Susan Broadhurst and Sara Price, 111–127. London: Palgrave Macmillan.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Laura Glitsos
    • 1
  1. 1.Faculty of HumanitiesEdith Cowan UniversityPerthAustralia

Personalised recommendations