Artist autonomy in a digital era: The case of Nine Inch Nails

Brown, Steven

doi:10.18061/1811/52949

Cited by 6 publications

(5 citation statements)

References 34 publications

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“…Expanding on research in this area, results suggest that the cost is not the driving factor but rather the perceived value, with particular attention paid to music in different formats to help establish this value. Explored elsewhere (Brown, 2011), value can be manipulated in various ways and in the present study, many participants expressed the benefits of physical recordings which are offered by remastered and rereleased versions of albums. Related to this, the format and quality of recorded music were also forwarded as key components in the decision-making process.…”

Section: Discussionmentioning

confidence: 84%

“…Expanding on research in this area, results suggest that the cost is not the driving factor but rather the perceived value, with particular attention paid to music in different formats to help establish this value. Explored elsewhere (Brown, 2011), value can be manipulated in various ways and in the present study, many This document is copyrighted by the American Psychological Association or one of its allied publishers.…”

Section: Discussionmentioning

confidence: 95%

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Why buy an album? The motivations behind recorded music purchases.

Brown

Knox

2016

Psychomusicology: Music, Mind, and Brain

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The present study examined why music fans choose to buy recorded music given the multitude of other ways to listen to music without payment. A sample of 135 participants (68.88% female) with a mean age of 29.05 years completed an open-ended questionnaire. These written responses were analyzed thematically. Two key themes were identified: Short-term comparisons and Long-term considerations. Motivations focused on value-maximization across both themes, with short-term comparisons including how many songs were liked on an album and the pros and cons of different formats. Price was by far the biggest factor. Long-term considerations were more sophisticated, with wider motivations including where money goes, and a consideration of recording artists' financial position. Some participants mentioned as a factor how long an album would be enjoyed, thus betraying the nature of music as an experience good. The desire to add to a music collection was an important consideration. The findings suggest that what might drive people toward music piracy is not the perceived costliness of music but rather a perception of poor value for money. Discussion focuses on how the recorded music industry can make legal purchases of recorded music more attractive than illegal counterparts.

show abstract

Section: Discussionmentioning

confidence: 84%

“…Expanding on research in this area, results suggest that the cost is not the driving factor but rather the perceived value, with particular attention paid to music in different formats to help establish this value. Explored elsewhere (Brown, 2011), value can be manipulated in various ways and in the present study, many This document is copyrighted by the American Psychological Association or one of its allied publishers.…”

Section: Discussionmentioning

confidence: 95%

Why buy an album? The motivations behind recorded music purchases.

Brown

Knox

2016

Psychomusicology: Music, Mind, and Brain

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“…However, this is not without caveats. Virtual gigs very much tap into existing fanbases and scenes, who are already emotionally, socially and economically invested in artists; something not readily available to new or emerging bands (Brown, 2011). Likewise, despite providing monetary aid to artists either by fans paying to watch the performances online and/or buying ancillary items such as records and merchandise, portal shows still operate within gig economies; an employment mode that has proven difficult and stressful for musicians (Gross et al, 2018).…”

Section: Discussionmentioning

confidence: 99%

“…Secondly, I nuance Schreiber's utilisation of 'visual analysis, text analysis and platform analysis [of online imagery]' (2017: 38) to examine artists and audiences' cultural practices, platforms' technological affordances and audiovisual and written content produced. Finally, an economic analysis addresses the monetary strategies that stem from the online performances (Brown, 2011). Given these case studies are on public sites, comments made on StageIt and Instagram are not archived, and online posts do not disclose users' personal information, consent from participants was deemed unfeasible and unnecessary.…”

mentioning

confidence: 99%

Staying in, rocking out: Online live music portal shows during the coronavirus pandemic

Rendell

2020

Convergence

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The 2020 Covid-19 global pandemic has greatly impacted societies around the world, where governmental strategies to curb and control the outbreak have resulted in citizens being unable to attend public businesses and spaces. For musicians who rely on touring as a dominant part of their income, the pandemic has had a hugely negative effect on their finances since they can no longer play face-to-face shows. However, a number of artists have turned to digital media to remedy this, performing online to audiences via Web 2.0 platforms. To better understand this cultural phenomenon, the article introduces the concept of portal shows that employ a converge between traditional live gigs, screen media and new media technologies. Analysing the textual, affective, performative and economic dynamics of portal shows, the article examines three differing case studies: Code Orange’s album release show on Twitch.TV, Beach Slang’s acoustic performance on StageIt and Delta Sleep’s in-store show on Instagram. In doing so, the article argues portal shows offer novel and nuanced ways artists and audiences can engage with one another through spatial convergence afforded by video streaming technologies and digital interfaces. Such live events also offer just-in-time fan engagement but does so within a digital transcultural remit, aiding the support of virtual scenes. As a result, the article expands on what is considered pandemic media and subsequent audience affective registers and enriches the study of the music industry’s engagement with digital media and wider convergence cultures more generally.

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“…De todas formas, los agujeros de conejo no tienen por qué estar tan ocultos. En Year Zero (2007), el ARG promocional de la banda estadounidense de rock Nine Inch Nails, uno de los agujeros de conejo estaba a la vista de todos, impreso en las camisetas que los músicos usaron en sus conciertos (Brown, 2011;Espinosa y Pérez, 2017). Se trató de la dirección de una página web que daba inicio a una historia de música y ciencia ficción.…”

Section: Estructura De Un Argunclassified

Bases para el desarrollo de un juego de realidad alternativa educativo

et al. 2021

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Los juegos de realidad alternativa son juegos que además de retos, integran relatos y TIC. También incluyen narrativas transmedia, las cuales consisten en relatos contados a través de diversos medios y plataformas, y que exigen de un rol activo del participante quien muchas veces tendrá que formar o hacer parte de una comunidad colaborativa. En este documento se explica en qué consisten y cuáles son los componentes básicos de estos juegos, así como los desafíos que se enfrentan quienes los diseñan como herramientas didácticas.

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Artist autonomy in a digital era: The case of Nine Inch Nails

Cited by 6 publications

References 34 publications

Why buy an album? The motivations behind recorded music purchases.

Why buy an album? The motivations behind recorded music purchases.

Staying in, rocking out: Online live music portal shows during the coronavirus pandemic

Bases para el desarrollo de un juego de realidad alternativa educativo

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