During a long period, sociology of art has been divided mainly between two major directions. Both show art as a social reality but they do so from quite different points of view: one is frontally critical and aims at revealing the social determination of art behind any pretended autonomy (be it the autonomy of the works, following the objectivist aesthetics, or the autonomy of the taste for them, following an aesthetics of subjectivity); the other is more pragmatic and, without pretending to make statements about the works or aesthetic experience, procedes through a minutious reconstitution of the "collective action" necessary to produce and consume art. Against a purely internal and hagiographic aesthetical commentary of art works, sociology has thus filled back an "art world" which formerly included only very few chefs-d'oeuvre and geniuses. Mainstream productions and copies, conventions and material constraints, professions and academies, organizations and markets, codes and rites of social consumption have been pushed to the front of the scene.If the role of many intermediaries has been put under scrutiny, sociologists have mainly focused their attention on the human components of the art production system (professions, market, institutions). The dilemma now faced by sociologists is how to incorporate the material character of works produced and devices used, without reverting to autonomous aesthetic comments, which in the past treated works of art as extractions removed from their social context. The work of resocialization of art also needs to come closer to art lovers' tastes and practices, without contenting oneself with an external acknowledgment of the value given to art by members of an art world as if art was a belief, and not also an experience of pleasure, expression and emotion collectively lived by subjects and bodies through specific objects and procedures. Asking questions on the political, ethnic and sexual value of art has been a way of showing how art does construct identities, bodies and subjectivities.Over-rationalizing a general movement in the sociology of art, which is undoubtedly more "Brownian" and less clearly oriented in reality, we will organize the display of recent evolutions in the social studies of arts around the notion of mediation. If the concept remains ambiguous, it clearly points out a strong new trend shared by very diverse approaches: a focus on objects and devices, on local situations, on reflexive and politically critical analyses of the social and artistic values, all this requiring to pay more attention to the materiality of intermediaries, to
L'auteure s'intéresse à la première exposition d'envergure nationale consacrée à la musique populaire québécoise, " Je vous entends chanter ", en tant que terrain clé pour l'étude du dispositif qui rend possible l'articulation de ce domaine musical comme lieu privilégié de production de la citoyenneté culturelle et de l'identitaire au Québec. Les documents et artefacts composant l'exposition, ainsi que la couverture médiatique dont elle a fait l'objet, servent ici à l'examen des conditions matérielles, institutionnelles et discursives, qui concourent à faire de l'histoire de la musique populaire celle du " peuple québécois ". L'analyse explore le jeu complexe des mémoires qui médiatisent les façons contrastées dont cet événement muséal dit, nomme et raconte la place de la musique populaire québécoise et, ce faisant, les formes d'allégeance, d'identification et d'appartenance qui y sont articulées.The author has examined the first exhibition of national scope dedicated to Quebec popular music, Je vous entend chanter, as a key area for the study of the mechanism by which this type of music functions as a pivotal point in the production of facets of citizenship related to culture and identity. The documents and artifacts making up the exhibition, as well as the media coverage it received, serve to examine the material, institutional and discursive conditions which come together to make the history of popular music the history of the "Quebec people". The analysis explores the complex interplay of memories that promote the contrasting ways in which the event states, names and relates the place of popular Quebec music, and, in so doing, the forms of allegiance, identification and belonging which are linked to it.La autora se interesa en la primera exposición de envergadura nacional consagrada a la música popular quebequense, Je vous entends chanter, como un terreno clave para el estudio del dispositivo que hace posible la articulación de ese dominio musical como lugar privilegiado de producción de la ciudadanía cultural y de la identidad en Québec. Los documentos y artefactos que componen la exposición, así como la cobertura mediática de la que ella fue objeto, sirven aquí al examen de las condiciones materiales, institucionales y discursivas, que concurren a hacer la historia de la música popular, la del " pueblo quebequense ". El análisis explora el juego complejo de las memorias que mediatizan las maneras contrastadas en las cuales este evento museológico dice, nombra y cuenta el lugar de la música popular quebequense y, al hacerlo, las formas de fidelidad, de identificación y de pertenencia que sont allí articuladas
Increased market concentration of multinational record companies, greater integration of major labels with international multi-media and entertainment conglomerates, as well as long economic recession were among the most striking developments of the 1980s to impact upon music-related industries. In the French-speaking province of Quebec (Canada), these developments, combined with local socio-political turmoil, left popular music in the throes of crisis and further jeopardised an indigenous music industry still in the making. The purpose of this paper is to examine the ways in which a local industry, by coming to terms with the aforementioned international developments, overcame what could well have spelled its doom.
The concepts of user and non-user are frequently deployed within media and communications literature. What do these terms mean if examined regarding age and ageing? In this article we explore and trouble these notions through an analysis of twenty-two conversations with a group of octogenarians and nonagenarians living in a retirement home. Their descriptions of their changing uses of media througout lifetime, and their encounters with mobile phones, computers, newspapers, television, radio and landline phones, are presented as a set of ‘techno-biographies’ that challenge binary divisions of use and non-use, linear notions of media adoption, and add texture to the idea of ‘the fourth age’ as a time of life bereft of decisional power. Speaking with octogenarians and nonagenarians provides insights into media desires, needs and uses, and opens up ‘non-use’ as a complex, variegated activity, rather than a state of complete inaction or disinterest.
Considering that data are no stranger to politics and power, we argue that it may well be a site of age-based discrimination. We discuss how older people are described and, at times, disregarded in the analysis of digitisation and how those partial descriptions bring about challenges in the study of digital practices throughout life. We propose the notion of data ageism to conceptualise the production and reproduction of the disadvantaged status of old age caused by decisions concerning how to collect and deliver whose data. We exemplify this concept by examining data produced by Eurostat, the statistical office of the European Union, which offers high-quality statistics on digitisation, but no data on individuals aged 75 years and over.
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