Locating Publics [electronic resource] : Forms of Social Order in an Electronic Music Scene /
Grote, Florian.author.
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, social situations are described that can only happen as communication in the field deals with the potentials and challenges of online media. The interwoven forms of online and offline activity are presented in a coherent model of public communication within contemporary cultural practice. With its current topic and an innovative set of methods, this study covers new ground for research in the cultural sciences of the digital age.   Contents Social and Economical Contexts Observing a Scene of Electronic Music Culture Online Publics and Practices Cultural and Artistic Practice in Social Space Integrating Online Publics and Performance Events     Target Groups Scholars and students of cultural sciences, sociology, media studies, musicology, science and technology studies Practitioners in the field of cultural administration   The Author Florian Grote is a cultural scientist with a special interest in artistic uses of technology. He works in the research and development department of an international music technology manufacturer.
Description based upon print version of record.
""Acknowledgments""; ""Contents""; ""Introduction""; ""Chapter 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 â€? Lots of Music, Nearly no Sales""; ""1.7 Berlin: The â€œCenter of the Universeâ€? 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""
""Chapter 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""; ""Chapter 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""; ""Chapter 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 Câ€?s â€œAllnighterâ€? 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""
""Chapter 5:  Integrating Online Publics and Performance Events""
Includes bibliographical references.
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, social situations are described that can only happen as communication in the field deals with the potentials and challenges of online media. The interwoven forms of online and offline activity are presented in a coherent model of public communication within contemporary cultural practice. With its current topic and an innovative set of methods, this study covers new ground for research in the cultural sciences of the digital age.   Contents Social and Economical Contexts Observing a Scene of Electronic Music Culture Online Publics and Practices Cultural and Artistic Practice in Social Space Integrating Online Publics and Performance Events     Target Groups Scholars and students of cultural sciences, sociology, media studies, musicology, science and technology studies Practitioners in the field of cultural administration   The Author Florian Grote is a cultural scientist with a special interest in artistic uses of technology. He works in the research and development department of an international music technology manufacturer.
Management.
Cultural studies.
Sociology.
Cultural Management.
Cultural Studies.
Sociology, general.