I thought it would be useful for me but also for others that read this blog to make a list with the references used for my dissertation. In time, I will keep updating it and have the final version which will be included in the final version of my dissertation. Feel free to comment and propose me other sources as well. Here we go then: (UPDATED 3/10/11)
Alter, Andrew, (2011) ‘Controlling Time in Epic Performances: A Comparison of Mahābhārata in the Central Himalayas and Indonesia’. In Ethnomusicology Forum Vol. 20 (1):55-78
Anning, Jemise (2008) ‘Games Musicians Play.’ The Jakarta Post Weekender, 29/7/2008, assessed online http://www.thejakartapost.com/news/2008/07/29/games-musicians-play.html, 20/5/2010
Applegate, Matthew, C. (2011) ‘Cultural perceptions, ownership and interaction with re-purposed musical instruments’ in Journal of Music, Technology and Education, Vol.3:2-3
Ayers, Michael, D. (ed.) (2006) Cybersounds: Essays on Virtual Music Culture. New York: Peter Lang Bartscherer, Thomas and Coover, Roderick (eds.) (2011) Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts. USA: Uni versity of Chicago Press
Baudrillard, Jean (1981) Simulacres et Simulations. France: Editions Galilee
Benjamin, Walter (1936) ‘The Work of Art in the Age of Mechanical Reproduction’.
Bird, Robert, Lichtenstein, Stephen, Ferrera, Gerald, and Reder, Margo (2011) CyberLaw: Text and Cases. South-Western, Division of Thomson Learning
Blunden, Andy (2007) ‘The Missing Mediation in Pragmatic Interpretations of Hegel’, Published online http://home.mira.net/~andy/works/missing-mediation.htm, last assessed 4/7/2011
Born, Georgina (2010) ‘Bringing the Social Back In: On the Publicisation and Privatisation of Music’. Presentation at University of Austin, Texas, February 2010
____________ (2005) ‘On Musical Mediation: Ontology, Technology and Creativity’. Twentieth Century Music, Vol. 2:1, pp. 7-36. Cambridge
____________ (1995) Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley and LA, California, USA: University of California Press
Bourdieu, Pierre (1985) Distinction. A Social Critique of the Judgement of Taste. London: Routledge
Bull, Michael and Back, Les (eds) (2003) The Auditory Culture Reader. UK: Berg Publishers
Bull, Michael (2006) ‘Iconic design: the Apple iPod’ article presented at Third International Workshop on Mobile Music Technology, University of Sussex, Brighton, UK, 2-3 March 2006.
Carlsson, Anders (2008) Chipfilp, personal blog, http://chipflip.wordpress.com
Castells, Manuel (2001) The Internet Galaxy: Reflections on the Internet, Business, and Society. Oxford: Oxford University Press
Colchester, Chloe (2003) Clothing the Pacific. UK: Berg Publishers
Collins, Nicolas (2009) Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge
Cooley, Timothy J, Katharine Meizel, and Nasir Syed (2008) ‘Virtual Fieldwork: Three Case Studies’ In Shadows in the Field. Barz, Gregory and Cooley Timothy J.(eds). New York: Oxford University Press
Crawford, Matthew (2009) Shop Class as Soulcraft: An Inquiry into the Value of Work. USA: Penguin Press
Crogan, Patrick (2012, forthcoming) Gameplay Mode: War, Simulation, and Technoculture. USA: University of Minnesota Press
Demers, Joanna (2010) Listening Through the Noise:The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press
DeNora, Tia (2000) Music in Everyday Life. UK: Cambridge University Press
Driscoll, Kevin & Diaz, Joshua (2009) ‘Endless Loop – A Brief History of Chiptunes. Transformative Works and Cultures Vol 2’. online http://journal.transformativeworks.org/index.php/twc/article/view/96/94, 8/6/2010
Erlmann, Veit (2004) Hearing Cultures: Essays on Sound, Listening and Modernity. UK: Berg Publishers
Fuller, Matthew (2007) Media Ecologies: Materialist Energies in Art and Technoculture. USA: MIT Press
Gajjala, Radhika (2006) ‘Cyberethnography : Reading South Asian Digital Diasporas’ in Landzelius, Kyra (ed) (2006) Native on the Net:Indigenous and Diasporic Peoples in the Virtual Age. UK:Routledge
Gaunt, Kyra, D. (2006) The games black girls play: learning the ropes from Double-dutch to Hip-hop. New York: New York University Press
Gell, Alfred (1998) Art and Agency: An Anthropological Theory. Oxford: Clarendon Press
_________ (1992) ‘The Technology of Enchantment and the Enchantment of Technology’. In J. Coote and A. Shelton, eds. Anthropology, Art and Aesthetics. pp. 40–66. Oxford: Clarendon.
Green, Paul D., and Porcello, Thomas (2004) Wired for Sound: Engineering and Technologies in Sonic Cultures. USA: Wesleyan University Press
Ghazala, Qubais Reed (2005) Circuit-Bending: Build Your Own Alien Instruments. Indianapolis, USA: Wiley Publishing, Inc.
Giesler, Markus (2005) ‘Cybernetic Gift Giving and Social Drama’ in Cybersounds: Essays on Virtual Music Culture, Ayers, Michael D. (ed.), New York: Peter Lang, pp. 21-55
Goehr, Lydia, (1992), The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press
Guffey, Elizabeth (2006) Retro: The Culture of Revival. UK: Reaktion Books
Hakken, David (1999) Cyborgs and Cyberspace?: an Ethnographer Looks to the Future. London, UK: Routledge
Hebdige, Dick (1979) Subculture :The Meaning of Style. USA: Routledge
Hegel, Georg W. F. (1816) Hegel’s Science of Logic, translated by Miller, A. V. New York: George Allen & Unwin, 1969
Hennion, Antoine (2009) ‘Authenticité, goût, interprétation : la leçon du faux en musique’, in De main de maître : l’artiste et le faux. p.113-132. Paris: Hazan, Musée du Louvre éditions
______________ (2003) ‘Music and Mediation. Toward a New Sociology of Music’, in Clayton Martin, Herbert Trevor, and Middleton, Richard (eds.), The Cultural Study of Music A critical introduction, New York and London, Routledge, p.81-91
Himanen, Pekka (2001) The Hacker Ethic. USA: Random House
Holmes, Thom (2002) Electronic and Experimental Music: Pioneers in Technology and Composition. New York: Routledge
Holt, Fabian (2007) Genre in Popular Music. USA: University of Chicago Press
Huizinga, Johan (1938) Homo Ludens. London: Routledge, 2008
Jones, Steve (1998) CyberSociety 2.0: Revisiting Computer-Mediated Community and Technology. USA: Sage Publications
__________ (1997) Virtual Culture: Identity and Communication in Cybersociety. USA: Sage Publications
Jordan, Tim (2008) Hacking. Cambridge: Polity Press
Katz, Mark (2011) ‘The Amateur in the Age of Mechanical Music’ Presentation at the Faculty of Music, University of Oxford, 31/5/2011
Kellerman, Aharon (2002) The Internet on Earth: A Geography of Information. UK: Wiley-Blackwell
Kelly, Caleb (2009) Cracked Media: The Sound of Malfunction. USA: MIT Press
Kirby, Alan (2009) Digimodernism: How New Technologies Dismantle the Postmodern and Reconfigure Our Culture. UK: Continuum Publishing Corporation
Kivy, Peter (1998) Authenticities: Philosophical Reflections on Musical Performance. USA: Cornell University Press
Kollock, Peter (1999) Communities in Cyberspace. London: Routledge
Kozinets, Robert (2009) Netnography: Doing Ethnographic Research Online. UK: Sage Publications Ltd
Kwame Harrison, Anthony (2011) ‘“We’re Talking about Practice(-Based Research)”: Serious Play and Serious Performance in the Practice of Popular Music Ethnography’ in Journal of Popular Music Studies, Vol. 23:2, pp. 221-228, June 2011
Landzelius, Kyra (ed) (2006) Native on the Net:Indigenous and Diasporic Peoples in the Virtual Age. UK:Routledge
Latour, Bruno (2005) Reassembling the Social: an Introduction to Actor-Network-Theory. Oxford: Clarendon Press
Leamer, Edward E. And Storper, Michael (2001) ‘The Economic Geography of the Internet Age’ Journal of International Business Studies, Palgrave Macmillan Journals, vol. 32(4), pages 641-665, December.
Lessig, Lawrence (2004) Free Culture: The Nature and Future of Creativity. UK: Penguin Books
Lipsitz, George (2011) ‘Midnight at the Barrelhouse: Why Ethnomusicology Matters Now’, in Journal of the Society for Ethnomusicology, Vol. 55:2, Spring/Summer 2011, pp. 185-189
Lysloff René T.A. and Gay, Leslie JR. (eds) (2003) Music and Technoculture. USA: Wesleyan University Press
Lysloff, René T.A. (2003) ‘Musical Life in Softcity: an Internet Ethnography’ in Lysloff René T.A. and Gay, Leslie JR. (eds) Music and Technoculture. USA: Wesleyan University Press, p. 23-63
Mauss, Marcel (1923) The Gift. London: Routledge, 2001
Miller, David (2009) Stuff. UK: Polity Press
___________ (ed) (2005) Materiality: Politics, History, and Culture. USA: Duke University Press
___________ (ed) (1998) Material Cultures: Why Some Things Matter. USA: University of Chicago Press
Miller, Frederic, P., Vandome, Agbes, F., McBrewster, John, (eds.) (2009) Chiptune. USA: Alphascript Publishing
Moss, Mitchell, L. And Townsend, Anthony, M. (2000) ‘The Internet Backbone and the American Metropolis’ in The Information Society, Vol.16, 35–47
Novak, David (2006) Japan Noise: Global Media Circulation and the Transpacific Circuits of Experimental Music. Diss., Columbia University
Nyman, Michael (1999) Experimental Music: Cage and Beyond. Cambridge, UK: Cambridge University Press
Penley, Constance, and Ross, Andrew (eds) (1991) Technoculture. USA: University of Minnesota Press
Polymeropoulou, Marilou (2008) De/con/structing: Hacking as post-subculture in contemporary popular music: a case study of circuit bending. Unpublished diss., National and Kapodistrian University of Athens
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Pruett, David B. (2011) ‘When the Tribe Goes Triple Platinum: A Case Study Toward an Ethnomusicology of Mainstream Popular Music in the U.S.’ in Journal of the Society for Ethnomusicology Vol. 55:1, pp 1-30, Winter 2011
___________ (2007) MuzikMafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream. Diss. The Florida State University, College of Music
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Hi, Mariloup,
I found your pages while looking for info on circuitbending… I, too, am writing an academic paper (15-20) pages on the topic. we should talk. write me!
I am looking at it in terms of issues of gender, social theory, and its relation to DIY/Make/Hacking and F/OSS.
also, i have an ongoing debate with my advisor. he sees it as a somewhat uninformed trend, with no overarching strategy… a kind of pageant of exchanged sign values. an example of Marx’s commodity fetish.
i disagree. I think there’s more to it than that, even fi it’s not quite articulated. I’m looking at it as part of a Nomadic strategy, in the tradition of deleuze and guattari. as preparation for something bigger. i’m not sure what yet…
we should definitely share sources and have a dialogue about this! as you have probably noticed, there is very little academic info on the practice. i’ve found a bunch of interesting similar articlds around “glitch” in the jounral organised sound.
check this out: http://ramocki.net/ramocki-diy.pdf
it’s called DIY: the militant embrace of technology. he gets into some theory when he says that hackers “reverse the sign relationship” or somethign similar.
ok, gottaa go, write back or send me a draft. i’ll send you my drafts, too if you like.
check this out: http://ramocki.net/ramocki-diy.pdf
it’s called DIY: the militant embrace of technology. he gets into some theory when he says that hackers “reverse the sign relationship” or somethign similar.
+1