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Replicants, imposters and the real deal: Issues of non-use and technology resistance in vintage and software instruments

机译：复制者，冒名顶替者和真实交易：老式和软件工具的不使用和技术抵制问题

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This paper explores non-use and technology resistance among musicians and enthusiasts devoted to analog synthesizers (particularly vintage synthesizers from the 1970s), and the recent influx of software simulations that often elicit critical and negative reactions among this group of devotees. Drawing on a combination of assemblage theory and affect theory this paper presents a case study of a prominent online music community and asks: What does this particular instance of technological resistance reveal about the social construction of technology and the on-going emotional and material negotiations that constitute digital and analog experiences? Results show that the possession or appreciation of analog synthesizers and the rejection of their digital counterparts is less about composing music or playing with others and more about a solitary activity that is deeply emotional, experiential and carefully untainted by the impurity of digital processing and equipment.
机译：本文探讨了致力于模拟合成器（尤其是1970年代的老式合成器）的音乐家和发烧友之间的不使用和技术阻力，以及最近涌入​​的软件仿真，这些软件常常引起这批奉献者的批评和负面反应。结合组合理论和情感理论，本文提出了一个著名的在线音乐社区的案例研究，并提出以下问题：技术抵抗的这种特殊情况揭示了技术的社会建构以及正在进行的情感和物质谈判，这是什么？构成数字和模拟体验？结果表明，拥有或欣赏模拟合成器并拒绝数字合成器，与其说是创作音乐或与他人玩耍，不如说是一种单独的活动，这种活动具有深厚的情感性，经验性，并没有受到数字处理设备的杂质的影响。

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