Ways of Being in the Age of Ubiquity
Edited By Annette N. Markham and Katrin Tiidenberg
What happens when the internet is absorbed into everyday life? How do we make sense of something that is invisible but still so central? A group of digital culture experts address these questions in Metaphors of Internet: Ways of Being in the Age of Ubiquity.
Twenty years ago, the internet was imagined as standing apart from humans. Metaphorically it was a frontier to explore, a virtual world to experiment in, an ultra-high-speed information superhighway. Many popular metaphors have fallen out of use, while new ones arise all the time. Today we speak of data lakes, clouds and AI. The essays and artwork in this book evoke the mundane, the visceral, and the transformative potential of the internet by exploring the currently dominant metaphors. Together they tell a story of kaleidoscopic diversity of how we experience the internet, offering a richly textured glimpse of how the internet has both disappeared and at the same time, has fundamentally transformed everyday social customs, work, and life, death, politics, and embodiment.
Chapter Fifteen: Popular Music Reception: Tools of Future-Making, Spaces, and Possibilities of Being (Craig Hamilton and Sarah Raine)
Popular Music Reception: Tools of Future-Making, Spaces, and Possibilities of Being
craig hamilton and sarah raine
Since the original publication of Life Online (Markham, 1998), internet use has become what Hine (2015) summarizes as embedded, embodied, and everyday. Websites and messageboards, once experienced as definitive spaces, are now connected with other platforms. Notions of individuality and agency have become entangled with processes of corporate data collection and analysis (Amatriain, 2013; Lynch, 2016). Algorithms loom in our everyday lives, enacting their role as gatekeepers of consequence (Tufekci, 2015, p. 16).
These developments are particularly apparent in the field of popular music, where technologies are everyday, data infrastructures culturally ‘ordinary’ (Liu, 2016), and data collection ‘nestled into the comfort zone’ of many people (Van Dijck, 2014). The growing importance of, and commercial reliance upon data by and about listeners (see Thompson, 2014; Webster et al., 2016) invites us to revisit questions of how audiences derive meaning from popular music, and how scholars can understand the processes and conditions involved with this. How are listeners negotiating this shift in their everyday lives?
Returning to Markham’s original work, we contend that digital music technologies have travelled a path from ‘tool’, to ‘place’, to ‘ways of being’ since 1998. In this chapter, we consider the use of music listening technologies as acts of agency that can be understood as a process of conscious ‘future-making’. This process includes ‘speculative, deliberate’ tool...
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