Imagined Memories Webcasting as a "live' technology and the case of Little Big Gig

Duffett, Mark

doi:10.1080/1369118032000155267

Cited by 11 publications

(7 citation statements)

References 5 publications

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“…27.This is very different from Duffett's description of the technology used for web-streaming ‘Little Big Gig’ as ‘extremely complex’ (Duffett 2003, p. 310). The web-streaming during Phase 1 often froze, staggered, lost sound or colour but this trial and error added to the group's vulnerability and exposure – and ironically, despite reminding the viewer of the medium – to the sense of liveness.…”

Section: Endnotesmentioning

confidence: 89%

“…(quoted in Keenan 2004, p. 44)I argue that this use of web-streaming by Neubauten stands in stark contrast to that analysed by Duffett which he states ‘gives consumers absolutely no opportunity to interact with each other or the performer’. Hence, he suggests that web-casting can be just another ‘corporate application of the Internet’ (Duffett 2003, p. 308).…”

Section: The Open Studiomentioning

confidence: 99%

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‘A small Utopia’: Unterstützer not Anhänger. Einstürzende Neubauten's Supporter Initiative

Shryane¹

2010

Pop. Mus.

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This paper argues that the Internet strategy created and used by Berlin musicians, Einstürzende Neubauten, emulates many aspects of Attali's (2006) hopes for the future of music – in particular, the creation of new social relations through a participatory listening and, in Chris Cutler's words (2008), to be ‘research as well as entertainment’. I set out to show that Neubauten's use of the world wide web made their Supporter Initiative a radical innovation. My evidence is that their Subskribentenmodell provided access during 2002–2007 to web-streamed ‘open studio’ rehearsals which facilitated a new relationship between artist and recipient in its declaration of fallibility and attention to feedback. Secondly, I argue that Neubauten's international network of 2,000 Unterstützers (not Anhängers) became a virtual and actual ‘extended family’ who created the cottage industry ethos necessary for successful independence. This family not only supported the band financially and contributed to artistic and practical decisions – as with the DIY Berlin concert Grundstück – but also provided grass roots knowledge and skill for independent dissemination and touring (in 2008) of Alles Wieder Offen. Finally, this anti-record company model now offered a paradigm to ‘infect’ other fringe artists and hence upheld Beuysian/Cageian social aims of art.

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Section: Endnotesmentioning

confidence: 89%

Section: The Open Studiomentioning

confidence: 99%

‘A small Utopia’: Unterstützer not Anhänger. Einstürzende Neubauten's Supporter Initiative

Shryane¹

2010

Pop. Mus.

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“…Thus, in an essay on Sir Paul McCartney's 1999 Webcast concert at the Cavern Club in Liverpool, Mark Duffett quotes Ray Connolly, a journalist, to the effect that the reconstructed club "evokes memories, whether real or imagined" and points to "the whole, impossible idea of 'imagined memories.'" 16 My analysis here indicates, however, that something very much like imagined memory (remembered imaginings, perhaps) underpinned the audience's experience at Shea Stadium, since the audience was drawing on its memory of its Theatre Survey own imaginings of the Beatles even while in their physical presence. The spectators' memories of the concert, therefore, would be memories (perhaps imagined) of remembered imaginings.…”

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confidence: 84%

Music as Performance: Living in the Immaterial World

Auslander¹

2006

Theat Surv

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As a performance scholar and music lover, I find it strange that the fields of theatre and performance studies historically have been reluctant to engage with musical performance. Even as theatrical a musical form as opera is generally excluded from the history of theatre, on the grounds that “the predominant force in opera was the music rather than the words,” as Vera Mowry Roberts, my theatre history professor, puts the case.1 Roberts points to the nonliterary character of music as the reason for the exclusion; I speculate that the perception of music not only as nonliterary but, more broadly, as nonmimetic may seem to place it outside the realm of theatrical representation. While performance-oriented scholars spurn music, music-oriented scholars generally spurn performance. Traditional musicologists remain focused on the textual dimensions of musical compositions, whereas scholars who look at music from the perspective of cultural studies are generally more concerned with audience and reception than with the actual performance behavior of musicians.

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“…This can be understood by considering a particular case. In his analysis of the Beatles' famous August 1965 Shea Stadium concert, Phil Auslander drew on my idea of 'imagined memories' (Duffett 2003b) to go a step further and suggest that fans, in a sense, dematerialized the Beatles while they were there:…”

Section: Intimacy In An Age Of Social Media: Is the Medium Really Thementioning

confidence: 99%

Celebrity: The Return of the Repressed in Fan Studies?

Duffett¹

2016

The Ashgate Research Companion to Fan Cultures

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Imagined Memories Webcasting as a "live' technology and the case of Little Big Gig

Cited by 11 publications

References 5 publications

‘A small Utopia’: Unterstützer not Anhänger. Einstürzende Neubauten's Supporter Initiative

‘A small Utopia’: Unterstützer not Anhänger. Einstürzende Neubauten's Supporter Initiative

Music as Performance: Living in the Immaterial World

Celebrity: The Return of the Repressed in Fan Studies?

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