Author: Tim Massey

In this series of posts, I have explored the ways in which recorded music has been used in expressing personal identity through successive consumer technologies and have tried to identify the psychological motives for these uses. As Steven Levy[1]Levy, S. (2006) The Perfect Thing: How the iPod Shuffles Commerce, Culture, and Coolness. New York: Simon […]

Concerns among Silicon Valley insiders about the addictive nature of social media have led to their withdrawal from its use and denying it to their children. Concluding that these addictive qualities are psycholinguistic as well as neurochemical (as explored in the previous post), this series part examines the psychological compulsion to use social media with close reference to the psychoanalytical work of Jacques Lacan.

This article outlines how a Facebook meme recalled the way LP records were used in expressing personal identities when vinyl was the dominant medium for consuming music. It continues by exploring how some musical identities prove more profound than others.

This post explores the relationship between recorded music and medium, finding that music is not bound to its media but its media tend to draw focus from it. It goes on to examine how portable music players have ‘dematerialised’ recorded music, making it much less communal and allowing consumers to use it to create personal mediated space.

Starting with the idea that subcultures are expressed through conspicuous consumption, this post explores how the impression of ownership experienced by consumers of recorded music on vinyl, audiotape and CD was only ever an illusion of these media. It goes on to describe how subsequent technologies broke the bonds of recording and medium, reducing the possibilities of cultural expression through ‘ownership’ of recorded music.