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.
Based on its author’s experience of feeling compelled to make social media postings from the audience at a Rolling Stones concert, this exploration outlines research in behavioural psychology showing that addictive actions are driven by intermittent variable rewards. It goes on to examine how this behaviour is endemic in the use of communications technology and how social and other new media companies have identified it as a way of keeping their users’ attention.
Opening with an outline of how Apple was able to turn the music industry’s ineffective response to illegal digital audio file sharing to its advantage by creating a coherent online music platform that favoured its iconic iPod player, this post traces the subsequent evolution of consumer music technology away from an ownership model to subscription services.
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.
First published in July 2007’s edition of ScriptWriter magazine, this article explores the benefits of university scriptwriting courses. It concludes that students need to keep in mind that these courses are not necessarily the gateway to a scriptwriting career.
As noted earlier in this blog, keeping regular diaries and journals isn’t a strong point and here I am blogging the final days of Salt’n’Sauce in the seasonal hiatus between Christmas and New Year — so much for this being a complete heat-of-the-moment, up-to-the-minute record of the production. I have been writing about the show […]
This article, first published in December 2006’s edition of the Writernet Bulletin, explores the writing and production of Salt’n’Sauce for Theatre West’s autumn 2006 season at the Alma Tavern Theatre, Bristol.
I wrote the following notes on ‘ownership’ of a play script in response to a request from Jo for a ‘few lines’ on the subject for her creative writing essay titled ‘Whose play is it, anyway?’ I think it’s important to distinguish between the script and the production when asking to whom a play ‘belongs’. […]
Simon warned earlier this week that all the shows he’d worked on had got cool receptions from audiences at least once during their runs. I was starting to feel a bit complacent that it wasn’t going to happen with Salt’n’Sauce, but it happened tonight. Things were looking good at the start of the evening. The […]
