Rethinking DIY culture in a post-industrial and global context

Bennett, Andy; Guerra, Paula

doi:10.4324/9781315226507-2

Cited by 69 publications

(17 citation statements)

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“…11 Similar 'hobbyist' tendencies are shown by the 'ordinary' amateur musicians in Finnegan's (1989) work in Milton Keynes, UK, although their premises of music making are clearly less politically inclined and not as much recording-oriented (155-9) as in the other cases. 12 However, likewise Mulligan (2017) above, Bennett & Guerra (2018) note that the "transformation of DIY into . .…”

Section: Journal Of Current Cultural Researchmentioning

confidence: 99%

“…The image of amateurs as purely entrepreneurial subjects may well dominate the discourse in academia and popular science, but not when we look holistically at the conjuncture. There are idealistic small-scale artists and producers, sometimes described as "independent" (Hesmondhalgh & Meier 2015;Strachan 2003), "underground" (Graham 2016), or 'DIY' as in do-it-yourself (Strachan 2003;2007;Bennett & Guerra 2018; Kaitajärvi-Tiekso 2018)-as well as amateurs that are simply content in their small circles (Prior 2018;Finnegan 1989)-that paint an alternative picture of amateurs to the 'upwardly mobile' one highlighted in the above discourse. These grassroots artists or producers claim to be content in producing marginal music for small audiences and suggest that there is a purposefully inefficient component to being a true amateur.…”

Section: Introductionmentioning

confidence: 99%

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Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture

Kaitajärvi-Tiekso

2020

Cult. Unbound

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This article examines the “new amateur music economy” as an emerging academic discourse. This represents amateur musicians and producers—with access to new digital production and communication tools—as entrepreneurial, aspiring professionals. The article then connects the discourse with its political, economic, and social context—or the neoliberal conjuncture. From the critical standpoint of conjunctural analysis it takes note of the albeit uneven nature of this neoliberalisation when it comes to the case of “independent micro-labels” in Finland who are seen to be maintaining the artistic critique of capitalism, as outlined by Luc Boltanski and Eve Chiapello. While the latter suggest that this critique has been, for all intents and purposes, assimilated into capitalism; the case of Finnish micro-labels would seem to repudiate the prevailing neoliberal notions of utilitarian music-making in the new amateur music economy discourse. This being said, the article does consider that it might be necessary for them to revise aspects of their critique if they want it to remain relevant in the new digital communication environment.

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Section: Journal Of Current Cultural Researchmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture

Kaitajärvi-Tiekso

2020

Cult. Unbound

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“…There were only very infrequent references to the DIY music culture or active involvement in any musical scene. The DIY ethos was essential, for instance, in the formation of punk, metal, and rap cultures [71], which also gave opportunities to create long-term careers in music [72]. However, there have been changes in the musical tastes of youth.…”

Section: Sense Of Belongingmentioning

confidence: 99%

Social Sustainability in Adolescents’ Music Event Attendance

2020

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This study focuses on social sustainability of music events in adolescents’ lives through their perceptions and own words as they describe their live music experiences. Scrutinizing music event attendance from the social sustainability perspective demonstrates that the cultural content per se is not as meaningful as the social network that comes together in such events. The research questions were: How is social sustainability manifested in adolescents’ music event attendance, and what are the implications? The research data comprised the results of a web survey directed at 15–18 year old adolescents. Bonding and bridging, as well as the sense of community, were present in adolescents’ descriptions of live music experiences, producing various forms of well-being effects. The sense of belonging was almost missing from the narratives, which suggests that how adolescents consume music has a decaying interest in the grassroots culture that fosters the sense of belonging. This has major implications for the development of popular culture.

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“…(Graham 2016, vii-viii) Besides the term fringe, which Graham prefers to use, several other notions turn up in both academic literature and public discourse as alternatives or complements to underground. The most widespread attributes are probably the nonofficial (Hagen and DeNora 2011) or unofficial, counter-culture (Klaniczay 2003), avant-garde (Graham 2010a), indie (Hesmondhalgh 1999), or DIY (Bennett and Guerra 2019), which emphasize different aspects of subcultural activities. Such notions as nonofficial, alternative, or counter-culture indicate an outsider stance or opposition to majority culture and the aesthetic and political mainstream through emphasizing otherness, independence, or active rebellion.…”

Section: What Is Underground?mentioning

confidence: 99%

Niche Underground: Media, Technology, and the Reproduction of Underground Cultural Capital

Tófalvy

2020

Pop Music, Culture and Identity

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Introduction "…This very topography of popular music in terms of underground versus overground, margins versus centre, has been steadily dissolved this decade, partly because of the web and partly because of the economic upheavals that have beset the music industry"-wrote Simon Reynolds (2009) in an essay for The Guardian. Indeed, in recent popular and scenic discourses, and cultural criticism, there is a frequently recurring narrative, according to which unlimited access made possible by the Internet and digital platforms have, in fact, already eliminated the concept of the underground. This is because music that may be heard by practically anyone can no longer be called underground (see also Graham 2010b).

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Rethinking DIY culture in a post-industrial and global context

Cited by 69 publications

References 1 publication

Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture

Monetizing Amateurs. Artistic Critique, New Online Record Production and Neoliberal Conjuncture

Social Sustainability in Adolescents’ Music Event Attendance

Niche Underground: Media, Technology, and the Reproduction of Underground Cultural Capital

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