Putting a Glitch in the Field: Bourdieu, Actor Network Theory and Contemporary Music
Identifieur interne : 000162 ( Main/Exploration ); précédent : 000161; suivant : 000163Putting a Glitch in the Field: Bourdieu, Actor Network Theory and Contemporary Music
Auteurs : Nick Prior [Royaume-Uni]Source :
- Cultural sociology [ 1749-9755 ] ; 2008-11.
English descriptors
- Teeft :
- Actor network theorists, Actor network theory, Bourdieu, British journal, Cascone, Contemporary music, Contemporary style, Critical orientation, Cultural capital, Cultural field, Cultural fields, Cultural production, Cultural sociology volume, Electronic music, Field concept, Genre, Glitch, Glitch music, Glitch musicians, Greater sensitization, Habitus, Hennion, Independent labels performance, John cage, John wiley, Kegan paul, Laptop, Laptop performance, Latour, Mille plateaux, Music production, Music style, November, Objective relations, Other hand, Other words, Oxford university press, Pierre bourdieu, Polity, Popular music, Productive activity, Protagonist, Reflexive sociology, Research sector, Rock music, Same time, Social distinction, Social relations, Social world, Sociologist, Software, Sonic, Sonic experimentation, Sonic fragments, Technological mediators, Wesleyan university press.
Abstract
Bourdieu's cultural sociology has become increasingly attractive to sociologists of music looking to account for the complex interrelations between industry, institution and practice. There remains, however, a tendency in such work to reduce the complexity and scope of Bourdieu's ideas. This paper attempts to apply Bourdieu's field theory to music, but does so with a critical orientation. The focus of the paper is the fin de millénaire music style called glitch, a style characterized by sonic fragments of technological error. While we learn a lot about the social trajectories of glitch from greater sensitization to its position in a structured setting of socio-economic relations, it becomes difficult to account for the centrality of technological mediators to this contemporary style of music using Bourdieu's categories alone. The paper pursues the possibility of supplementing or combining a Bourdieusian approach with actor network theory.
Url:
DOI: 10.1177/1749975508095614
Affiliations:
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There remains, however, a tendency in such work to reduce the complexity and scope of Bourdieu's ideas. This paper attempts to apply Bourdieu's field theory to music, but does so with a critical orientation. The focus of the paper is the fin de millénaire music style called glitch, a style characterized by sonic fragments of technological error. While we learn a lot about the social trajectories of glitch from greater sensitization to its position in a structured setting of socio-economic relations, it becomes difficult to account for the centrality of technological mediators to this contemporary style of music using Bourdieu's categories alone. The paper pursues the possibility of supplementing or combining a Bourdieusian approach with actor network theory.</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country><region><li>Écosse</li></region><settlement><li>Édimbourg</li></settlement><orgName><li>Université d'Édimbourg</li></orgName></list><tree><country name="Royaume-Uni"><region name="Écosse"><name sortKey="Prior, Nick" sort="Prior, Nick" uniqKey="Prior N" first="Nick" last="Prior">Nick Prior</name></region><name sortKey="Prior, Nick" sort="Prior, Nick" uniqKey="Prior N" first="Nick" last="Prior">Nick Prior</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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