Music

The next session at AoIR 2012 starts with Catherine Knight Steele, whose focus is on the online expression of grief following the death of Whitney Houston. Many of the messages being posted following her death seemed more like the support offered to family members than a public expression of fandom. The same was not true in the same way following the death of Michael Jackson, when many more critical responses were aired.

The final presenters in this AoIR 2012 session are Camila Monteiro, Raquel Recuero, and Adriana Amaral, who begin by noting the demographics of Twitter in Brazil: there are some 33 million Brazilian Twitter users, most of whom are adolescents. Their interest in this paper is especially in fandom and anti-fandom around the pop band Restart, and in the social capital which such activities create and maintain.

Next up at AoIR 2012 it's Tim Highfield and me again, presenting a paper co-authored with our colleague Stephen Harrington. Here are the slides; audio to follow. and audio.

#Eurovision: Twitter as a Technology of Fandom from Axel Bruns

Gothenburg.
The last keynote at AoIR 2010 is by the fabulous Nancy Baym, whose recent work has focussed especially on the Swedish independent music industry. Nancy’s based in Kansas, but is now well connected with the Swedish music scene – and that’s just one example of the international cultural interconnections which we’re now seeing.

Her initial interest in Swedish music stems from exposure to independent music stores in the US which import overseas music; most of these stores are labours of love rather than significantly successful commercial enterprises – and they are now also selling music back to Sweden, in fact! Music Websites in the US and elsewhere in the world which focus on Swedish music are also popular in Scandinavia itself.

Gothenburg.
The next AoIR 2010 session I’m in is a panel on sustainable entertainment, which involves Wenche Nag from the Norwegian telecommunications company Telenor, Mia Consalvo, Jean Burgess, Patrick Wikström, and Martin Thörnkvist. Patrick begins by noting the transformations in the music industry, for example, where the largest company now no longer is a record label but a live music company. iTunes and similar models are also making a significant impact, of course. Much of this is now based on artist/audience relationships that are based on passion and substantial emotional investment – which works for some entertainment industries, of course, but not for others.

Also, what are revenues linked to – where do payments come from (now perhaps from subscription fees, advertising, sponsorships, etc., rather than from content sales)? This has led to a rapid succession of various attempted business models – the latest, for example, is Spotify –, some of which have failed already. Spotify, for example, has been an attempt to draw users away from illegal filesharing models and towards legitimate systems.

With the Internet Turning 40 and International Communication Association conferences completed, I'm briefly back in Brisbane, before setting off for the Australia/New Zealand Communication Association (ANZCA) conference in Canberra next week (hopefully with a recharged audio recorder!).

In the meantime, here's a quick update on some new publications I've been involved in - a number of my recent book chapters on a range of topics have now been published:

First, with a chapter on "News Blogs and Citizen Journalism" in e-Journalism: New Media and News Media I'm introducing my work on gatewatching and citizen journalism to an Indian readership - the book was edited by Kiran Prasad, who was my office mate at the University of Leeds while I was there in 2007 to do some research for the produsage book, and was published by B.R. Publishing in Delhi. I don't think the publisher actually has a Website - but there's a good overview of the collection at Cyberjournalist, and it also includes contact details for BR Publishing.

Singapore.
For the second round of ICA 2010 papers this morning, I'm in a popular communication session, and Matt Stahl is the first presenter. He notes the ongoing turbulence in the recording industry, dating back to the late 1970s which led it to embrace a blockbuster model for which Thriller is the best example; there was an intensification of rigidity in labour relations as a result (with a focus on high-earning artists in both industry employment and product marketing), but also a flexibility in the exploration of new business models to support this and identify new artists.

Milwaukee.
The next speaker in this last.fm panel at AoIR 2009 is Adriana Amaral, who shifts our focus to Brazilian users of last.fm, and points especially to the role of online profiles here. Profiles are often related to a specific scene, subculture, or musical genre, and musical taste is a convergent process involving mass media, word of mouth, friends, community, family, and other social spaces. There are a number of site types here - classification, musical data visualisation, and online radio stations (based on listening data); each of these are important features of last.fm. The way the site deals with tagging intensifies the individual and collective relations of recommendations; its folksonomy can be understood as a narrow typology.

Milwaukee.
Up next in this panel at AoIR 2009 is Simone Pereira de Sá, whose focus is on music recommendation systems; such systems are mediators or translators to which we delegate the task of recommendation. They promise something else for the different actors in the process: artists are presented to the right people, while listeners find new music they should enjoy, and this is further enhanced through social networking tools and tagging functionalities.

Labelling systems deal with the complex issue of music classifications, choices, and tastes, and this ties into the question of musical genres - so, how do recommendation systems work on this basis, and strain, support, or overcome the idea of musical generes? As Simon Frith has suggested, one of the greatest pleasures of entertainment culture is the discussion of different values and tastes; different opinions have different levels of credibility here. This is also connected to subcultural theory, of course, which ascribes certain subcultural capital to agents in contact with the media and refers to consuming certain exclusive information and the 'right' cultural products.