COMMODIFY. ESCUCHA EN LÍNEA Y UNIFORMIZACIÓN IDEOLÓGICA
[EN] music in their everyday life. As of 2014, sales reports announce these as outselling CDs and coming close to do the same with the purchased downloads. These services do not sell music, but use the music, or rather the social aspects associated with it, as a lure to sell access to it. Because of...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/96317 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/96317 |
| Access Level: | acceso abierto |
| Palabra clave: | Escucha Mercancía Teoría crítica Uniformización Internet |
| Sumario: | [EN] music in their everyday life. As of 2014, sales reports announce these as outselling CDs and coming close to do the same with the purchased downloads. These services do not sell music, but use the music, or rather the social aspects associated with it, as a lure to sell access to it. Because of their user-friendly interfaces and their economic use (they are cheap for the user and they do not need any room), they have become an effective solution for the everyday consumption of music, acting as a background to other activities as well. Companies offering these kind of services have proliferated, even though the leading one -- in terms of subscriptions -- is still to report any kind of monetary gains (Harper 2015). However, the use of these services generate a mediation in the user, in which publicity processes take place, that relate the music to the fabrication of appealing lifestyles and potentially affect the agency of the listener. (Fabrication of consent). Through the increasing use of playlists, which are generated by sophisticated AI systems as well as human specialists, users modify their moods and their perception of time. This produces a distraction, which, as a result, increasingly leads users to resort to music as a “technology of the self” (DeNora 2003) and not as a cognitive act. Simultaneously, users’ participation in different social networks allows for the tracking of their interests and likes, which facilitates the companies’ task of targeting their advertising to specific groups of users. Through an analysis of the relations between different music services and social networks in the frame of the application economy, I intend to reflect on the economic interests, which contribute to generate corporate behaviors, by which users’ big data are monitored and sold. Since these services offer access to music as a commodified good, the listening act itself becomes objectified, and acts as a merchandise. Thus, I intend to show the mechanisms, by which objectified listening becomes a device for social ordering and ideological standardization. |
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