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Consuming audio: An introduction to Tweak Theory
No full textAudio technology is a medium for music, and when we pay attention to it we tend to speculate about its effects on the music it transmits. By now there are well-established traditions of commentary (many of them critical) about the impact of musical reproduction on musical production. Recording has commodified music, we are told, and driven a wedge between performer and audience. In popular music, multitrack recording dissolved the sense of group interaction; in classical music, audiences accustomed to the perfect accuracy of recordings demanded the same from live concerts, where interpretation consequently became cautious and stultified. Rock musicians, attempting to duplicate elaborate studio arrangements in concert performance, found themselves locked into synchrony with preprogrammed sequencers. And so on.It is my purpose here neither to refine these arguments nor to refute them. Rather, I wish to change the subject slightly. I have nothing to say about technology as a medium for the producers of music; I will instead consider technology as part of the culture of the music audience. Audio technology, like other forms of technology, is not simply a tool used for a practical purpose, but bears cultural meanings and personal emotional investments. Furthermore, though it represents a realm of creative involvement and practical mastery for audio engineers, for most of its users it is something purchased, a commodity
Games & Geschiedenis: Computerspellen, Context en Controverse: Een inleiding
No full textInleiding op het themanummer Game
Een eeuw van beeld en geluid. Cultuurgeschiedenis van radio en televisie in Nederland
No full textBert Hogenkamp, Sonja de Leeuw & Huub Wijfjes(red.)Een eeuw van beeld en geluid. Geschiedenis van radio en televisie in Nederland Hilversum (Nederlands Instituut voor Beeld enGeluid) 2012, ISBN 978 90778 0613
De bewogen beginjaren van de Nederlandsche Bioscoop Bond, 1918-1925
No full textThis article considers the maturation period of what was later to become the mighty Dutch Cinema Federation (NBB/Nederlandsche Bioscoop Bond). Consolidation didn’t occur until after 1926 when it became the player in the Dutch film sector and which no-one could ignore formany decades. During the late 1910s and first half of the 1920s as it was professionalizing and expanding, the cinema and film distribution organisation experienced sharp growing pains.These were caused, firstly, by diverse conflicting interests, for example, between the proprietors of the cinemas on the one hand and the film importers and distributors on the other, between large and small entrepreneurs, between (large) towns and the provincial areas; and secondly, by external pressure from the changing world film market and the hostile attitude of local andnational authorities. The attempt by Loet Barnstijn and his companions to achieve vertical integration of screening, distribution and production into one ‘Dutch cinema trust’ played a crucialrole in the difficulties and struggle for power within and concerning the NBB
D.T. Critchlow, When Hollywood Was Right
No full textReview of: D.T. Critchlow, When Hollywood Was Righ
What might we mean by Media History? (1994)
No full textArticle published in GBG nieuws in 1994. Some reflections on the concept of Media History at universities at the time that Thomas Elsaesser started Media Studies at the University of Amsterdam
De indische pers en de literatuur
No full textReview of: Prins, Tromp & Van Zonneveld (red.), De Indische pers en de literatuu
DIVE into the Event-Based Browsing of Linked Historical Media
Get PDFDIVE is a linked-data digital cultural heritage collection
browser. It was developed to provide innovative access to heritage objects
from heterogeneous collections, using historical events and narratives as
the context for searching, browsing and presentating of individual and
group of objects. This paper describes the DIVE Web Demonstrator5
.
This demonstrator uses semantics from existing collection vocabularies
and linked data vocabularies to establish connections between the collection
media objects and the events, people, locations and concepts that
are depicted or associated with those objects. The innovative interface
combines Web technology and theory of interpretation to allow for browsing
this network of data in an intuitive ”infinite” fashion. DIVE focuses
to support digital humanties scholars in their online explorations and
research questions
Convergent Television and ‘Audience Participation’: The Early Days of Interactive Digital Television in the UK
No full textThe paper focuses on the introduction of interactive digital television (DTV) in the UK at the turn of the millennium, and its take-up and use by early audiences. It discusses whether the processes of television technological convergence went together with ‘consumer behaviour convergence,’1 enhanced audience engagement with the interactive TV services offered, and participation. Based on findings from a UK-wide survey and in-depth interviews with early Sky digital subscribers conducted during the early days of the service, the article shows that early interactive DTV was taken up because of its multichannel offering and thematic orientation and, interestingly, was approached and appreciated mostly as a television content provider. It thus notes a divergence on industry’s attempts to promote convergence in broadcasting and on the level and pace with which users adopt and adapt to such change. In so doing it highlights the evolutionary nature and slow rate of change of cultural habits and forms