Skip to main content
Top

2019 | OriginalPaper | Chapter

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

Activate our intelligent search to find suitable subject content or patents.

search-config
loading …

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.

Dont have a licence yet? Then find out more about our products and how to get one now:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

  • über 102.000 Bücher
  • über 537 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Maschinenbau + Werkstoffe
  • Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 340 Zeitschriften

aus folgenden Fachgebieten:

  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Versicherung + Risiko




Jetzt Wissensvorsprung sichern!

Footnotes
1
The word muzak is often used to refer to a generic type of music, but the term muzak® denotes a registered trademark belonging to the company Muzak® Holdings, which was sold in 2011 to the Mood Media company. It is the latter term I use in this chapter.
 
2
I thank Professor Peter Beilharz for this detail.
 
Literature
go back to reference 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. 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.
go back to reference Celma, Òscar, and Paul Lamere. 2011. If You Like Radiohead, You Might Like This Article. AI Magazine 32 (3): 57–66.CrossRef Celma, Òscar, and Paul Lamere. 2011. If You Like Radiohead, You Might Like This Article. AI Magazine 32 (3): 57–66.CrossRef
go back to reference Copland, Aaron. 1952. Music and Imagination. Cambridge, MA: Harvard University Press. Copland, Aaron. 1952. Music and Imagination. Cambridge, MA: Harvard University Press.
go back to reference 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. 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.
go back to reference Davis, Colin. 2005. Hauntology, Spectres and Phantoms. French Studies 59 (3): 373–379.CrossRef Davis, Colin. 2005. Hauntology, Spectres and Phantoms. French Studies 59 (3): 373–379.CrossRef
go back to reference Glitsos, Laura. 2016. Ways of Feeling: The Transformation of Emotional Experience in Music Listening in the Context of Digitisation. PhD diss., Curtin University. Glitsos, Laura. 2016. Ways of Feeling: The Transformation of Emotional Experience in Music Listening in the Context of Digitisation. PhD diss., Curtin University.
go back to reference Hansen, Mark. 2006. Bodies in Code. New York: Routledge. Hansen, Mark. 2006. Bodies in Code. New York: Routledge.
go back to reference Haraway, Donna. 1987. A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s. Australian Feminist Studies 2 (4): 1–42.CrossRef Haraway, Donna. 1987. A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s. Australian Feminist Studies 2 (4): 1–42.CrossRef
go back to reference 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.CrossRef 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.CrossRef
go back to reference Heidegger, Martin. 1977. The Question Concerning Technology, and Other Essays. New York: Harper & Row. Heidegger, Martin. 1977. The Question Concerning Technology, and Other Essays. New York: Harper & Row.
go back to reference Jones, Simon, and Thomas Schumacher. 1992. Muzak: On Functional Music and Power. Critical Studies in Mass Communication 9 (2): 156–169.CrossRef Jones, Simon, and Thomas Schumacher. 1992. Muzak: On Functional Music and Power. Critical Studies in Mass Communication 9 (2): 156–169.CrossRef
go back to reference Kristeva, Julia. 1982. Powers of Horror: An Essay on Abjection. New York: Columbia University Press. Kristeva, Julia. 1982. Powers of Horror: An Essay on Abjection. New York: Columbia University Press.
go back to reference Lanza, Joseph. 1995. Elevator Music: A Surreal History of Muzak, Easy-Listening and Other Moodsong. London: Quartet. Lanza, Joseph. 1995. Elevator Music: A Surreal History of Muzak, Easy-Listening and Other Moodsong. London: Quartet.
go back to reference Manning, Erin, and Brian Massumi. 2012. Relationscapes: Movement, Art, Philosophy. Cambridge, MA: MIT Press. Manning, Erin, and Brian Massumi. 2012. Relationscapes: Movement, Art, Philosophy. Cambridge, MA: MIT Press.
go back to reference Marx, Karl and Engels Freidrich. [1848] 2007. Communist Manifesto. Radford, VA: Wilder Publications. Marx, Karl and Engels Freidrich. [1848] 2007. Communist Manifesto. Radford, VA: Wilder Publications.
go back to reference McLuhan, Marshall, and Quentin Fiore. 1967. The Medium is the Massage. New York: Bantam. McLuhan, Marshall, and Quentin Fiore. 1967. The Medium is the Massage. New York: Bantam.
go back to reference Priest, Eldricht. 2013. Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure. New York: Bloomsbury. Priest, Eldricht. 2013. Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure. New York: Bloomsbury.
go back to reference Prior, Nick. 2018. Popular Music, Digital Technology and Society. London: Sage. Prior, Nick. 2018. Popular Music, Digital Technology and Society. London: Sage.
go back to reference 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.CrossRef 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.CrossRef
go back to reference Ritzer, George, Paul Dean, and Nathan Jurgenson. 2012. The Coming Age of the Prosumer. American Behavioral Scientist 56 (4): 379–398.CrossRef Ritzer, George, Paul Dean, and Nathan Jurgenson. 2012. The Coming Age of the Prosumer. American Behavioral Scientist 56 (4): 379–398.CrossRef
go back to reference 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.CrossRef 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.CrossRef
go back to reference Shildrick, Margrit. 2015. ‘Why Should Our Bodies End at the Skin?:’ Embodiment, Boundaries, and Somatechnics. Hypatia 30 (1): 13–29.CrossRef Shildrick, Margrit. 2015. ‘Why Should Our Bodies End at the Skin?:’ Embodiment, Boundaries, and Somatechnics. Hypatia 30 (1): 13–29.CrossRef
go back to reference Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press. Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press.
go back to reference Sterne, Jonathan. 1997. Sounds like the Mall of America: Programmed Music and the Architectonics of Commercial Space. Ethnomusicology 41 (1): 22–50.CrossRef Sterne, Jonathan. 1997. Sounds like the Mall of America: Programmed Music and the Architectonics of Commercial Space. Ethnomusicology 41 (1): 22–50.CrossRef
go back to reference 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. 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.
go back to reference Sullivan, Nikki, and Samantha Murray, eds. 2009. Somatechnics: Queering the Technologisation of Bodies. Surrey: Ashgate. Sullivan, Nikki, and Samantha Murray, eds. 2009. Somatechnics: Queering the Technologisation of Bodies. Surrey: Ashgate.
go back to reference 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. 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.
go back to reference Virilio, Paul. 1995. The Art of the Motor. Minneapolis: University of Minnesota Press. Virilio, Paul. 1995. The Art of the Motor. Minneapolis: University of Minnesota Press.
go back to reference Weiss, Gail. 1999. Body Images: Embodiment as Intercorporeality. New York: Routledge. Weiss, Gail. 1999. Body Images: Embodiment as Intercorporeality. New York: Routledge.
go back to reference Wiley, Norbert. 1988. The Micro-Macro Problem in Social Theory. Sociological Theory 6 (2): 254–261.CrossRef Wiley, Norbert. 1988. The Micro-Macro Problem in Social Theory. Sociological Theory 6 (2): 254–261.CrossRef
go back to reference Wills, David. 2008. Dorsality: Thinking Back Through Technology and Politics. Minneapolis: University of Minnesota Press. Wills, David. 2008. Dorsality: Thinking Back Through Technology and Politics. Minneapolis: University of Minnesota Press.
go back to reference 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.CrossRef 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.CrossRef
Metadata
Title
The ‘Creative Listener:’ Internet, Music, and the Computer-Bodymind Somatechnic
Author
Laura Glitsos
Copyright Year
2019
DOI
https://doi.org/10.1007/978-3-030-18122-2_5