Creative practices of mobile music listening
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creative practices of mobile music listening Lionel Detry Centre de Recherche en Communication (RECOM GReMS) Université Catholique de Louvain : New Audience Practices – Lisboa, 34 April 2014 :
Transcript of Creative practices of mobile music listening
creative practices of mobile music listening
Lionel Detry Centre de Recherche en
Communication (RECOM -‐ GReMS) Université Catholique de Louvain
: New Audience Practices – Lisboa, 3-‐4 April 2014 :
1992 : my walkman long trip in a car with my
family batteries a few mixtapes poor sound quality …still an experience
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2014 : my iPod long trip by plane and
working no battery limitation 19000 songs listening in shufTle no perfect conditions …still an experience
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from walkman to iPod
enhanced portability, capacity, access to music
new modes of navigation organisation of a collection is necessary
do these changes inTluence how we listen?
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exploration
15 observations in public places management of social interactions technical devices and manipulation activities …
What is in their head? What is the meaning of their use?
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exploration
9 unstructured interviews there exists a very low-‐level practice of mobile listening
but some respondants were more reTlexive about their practices : close attention, association with vision, awareness of social space
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hypothesis : two models
opposition between two extreme practices 1/ trivial practice
user takes what the technology affords : listening to everything, everywhere, everytime
no constraints = no meaning technological determinism
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hypothesis : two models
2/ creative practice affordances and constraints of the practice : situation, technical aspects, individual values
co-‐construction of a performance of listening
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research question
does mobile music listening produce a new and creative listening practice ?
individual music listening with a mobile device and earphones
socio-‐technical approach (user studies, STS, appropriation)
what is this “art of listening”
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methodology
notebook of listening practices during 14 days ethnographers of their practice descriptive and subjective writing diary-‐interview (Zimmerman & Lawrence, 1977) reTlexivity
interviews 15 people 22-‐50 years old 4 interviews and notebooks fully coded
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(simpliTied) model for a creative practice of MML
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back to the two models
1/ choice of music according to his pre-‐determined taste ; situation is not a variable. Technology is used for listening or a for function
2/ the use of the mobile device in a speciTic situation produces a practice of listening that co-‐constructs taste (…) and associates with the situation to produce a moment. This feeds back into the appropriation process
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appropriation
each practice feeds back into personal values and representations about the value of music, social situation, sonic
environment, security with time and variety of practices, the individual can deTine and ‘fabricate’ a « good listening »
it is a moment of close attention to music, of focalisation of
thoughts, of perfect association,…
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to summarize
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mobile music listening is not hearing music in any situation. Rather, it is : a performance in a speciTic situation with a device by an individual who navigates in music that associates with aspects of the situation & co-‐constructs taste, emotion, mood, thoughts,…
appropriation process transforms values and representations
