Underground testing: Name-altering practices as probes in electronic music.
Identifieur interne : 000116 ( Main/Exploration ); précédent : 000115; suivant : 000117Underground testing: Name-altering practices as probes in electronic music.
Auteurs : Giovanni Formilan [Royaume-Uni] ; David Stark [Royaume-Uni, États-Unis]Source :
- The British journal of sociology [ 1468-4446 ] ; 2020.
Abstract
Name-altering practices are common in many creative fields-pen names in literature, stage names in the performing arts, and aliases in music. More than just reflecting artistic habits or responding to the need for distinctive brands, these practices can also serve as test devices to probe, validate, and guide the artists' active participation in a cultural movement. At the same time, they constitute a powerful probe to negotiate the boundaries of a subculture, especially when its features are threatened by appropriation from the mass-oriented culture. Drawing evidence from electronic music, a field where name-altering practices proliferate, we outline dynamics of pseudonymity, polyonymy, and anonymity that surround the use of aliases. We argue that name-altering practices are both a tool that artists use to probe the creative environment and a device to recursively put one's creative participation to the test. In the context of creative subcultures, name-altering practices constitute a subtle but effective form of underground testing.
DOI: 10.1111/1468-4446.12726
PubMed: 32314353
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More than just reflecting artistic habits or responding to the need for distinctive brands, these practices can also serve as test devices to probe, validate, and guide the artists' active participation in a cultural movement. At the same time, they constitute a powerful probe to negotiate the boundaries of a subculture, especially when its features are threatened by appropriation from the mass-oriented culture. Drawing evidence from electronic music, a field where name-altering practices proliferate, we outline dynamics of pseudonymity, polyonymy, and anonymity that surround the use of aliases. We argue that name-altering practices are both a tool that artists use to probe the creative environment and a device to recursively put one's creative participation to the test. In the context of creative subcultures, name-altering practices constitute a subtle but effective form of underground testing.</div></front></TEI><pubmed><MedlineCitation Status="In-Process" Owner="NLM"><PMID Version="1">32314353</PMID><DateRevised><Year>2020</Year><Month>05</Month><Day>01</Day></DateRevised><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1468-4446</ISSN><JournalIssue CitedMedium="Internet"><Volume>71</Volume><Issue>3</Issue><PubDate><Year>2020</Year><Month>Jun</Month></PubDate></JournalIssue><Title>The British journal of sociology</Title><ISOAbbreviation>Br J Sociol</ISOAbbreviation></Journal><ArticleTitle>Underground testing: Name-altering practices as probes in electronic music.</ArticleTitle><Pagination><MedlinePgn>572-589</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1111/1468-4446.12726</ELocationID><Abstract><AbstractText>Name-altering practices are common in many creative fields-pen names in literature, stage names in the performing arts, and aliases in music. More than just reflecting artistic habits or responding to the need for distinctive brands, these practices can also serve as test devices to probe, validate, and guide the artists' active participation in a cultural movement. At the same time, they constitute a powerful probe to negotiate the boundaries of a subculture, especially when its features are threatened by appropriation from the mass-oriented culture. Drawing evidence from electronic music, a field where name-altering practices proliferate, we outline dynamics of pseudonymity, polyonymy, and anonymity that surround the use of aliases. We argue that name-altering practices are both a tool that artists use to probe the creative environment and a device to recursively put one's creative participation to the test. In the context of creative subcultures, name-altering practices constitute a subtle but effective form of underground testing.</AbstractText><CopyrightInformation>© 2019 London School of Economics and Political Science.</CopyrightInformation></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Formilan</LastName><ForeName>Giovanni</ForeName><Initials>G</Initials><AffiliationInfo><Affiliation>University of Edinbrugh Business Shool, Edinburgh, UK.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Stark</LastName><ForeName>David</ForeName><Initials>D</Initials><AffiliationInfo><Affiliation>University of Warwick, Coventry, UK.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>Columbia University, New York, NY, USA.</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><GrantList CompleteYN="Y"><Grant><GrantID>695256</GrantID><Agency>H2020 European Research Council</Agency><Country></Country></Grant></GrantList><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2020</Year><Month>04</Month><Day>21</Day></ArticleDate></Article><MedlineJournalInfo><Country>England</Country><MedlineTA>Br J Sociol</MedlineTA><NlmUniqueID>0373126</NlmUniqueID><ISSNLinking>0007-1315</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><KeywordList Owner="NOTNLM"><Keyword MajorTopicYN="N">alias</Keyword><Keyword MajorTopicYN="N">anonymity</Keyword><Keyword MajorTopicYN="N">creative identity</Keyword><Keyword MajorTopicYN="N">electronic music</Keyword><Keyword MajorTopicYN="N">pseudonymity</Keyword><Keyword MajorTopicYN="N">subculture</Keyword><Keyword MajorTopicYN="N">testing</Keyword></KeywordList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="received"><Year>2019</Year><Month>03</Month><Day>12</Day></PubMedPubDate><PubMedPubDate PubStatus="revised"><Year>2019</Year><Month>05</Month><Day>31</Day></PubMedPubDate><PubMedPubDate PubStatus="accepted"><Year>2019</Year><Month>10</Month><Day>16</Day></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2020</Year><Month>4</Month><Day>22</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2020</Year><Month>4</Month><Day>22</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2020</Year><Month>4</Month><Day>22</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>ppublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">32314353</ArticleId><ArticleId IdType="doi">10.1111/1468-4446.12726</ArticleId></ArticleIdList><ReferenceList><Title>REFERENCES</Title><Reference><Citation>ABC-Nightline. 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