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Ok Computer:mobility, Software And The Laptoprnmusician

机译：好的计算机：移动性，软件和笔记本电脑

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In this article I address some images, categories and open-ended trajectories of the laptop in music production. The aim is to explore the laptop's increasing presence in the sites of music, from cyberspace to live venues, as well as the relationship between music and mobile computerized space. Implicit in the article is the claim that the laptop is a neglected device, but that close attention to its position in cultural networks and everyday settings is one way of examining some possible ways into the complex entanglements and layerings of mobile space. The first part of the article explores the laptop as the archetypal nomadic machine of the digital age, inserted into mobile networks, hubs and flows. The laptop mediates mobility and by doing so not only serves macro-processes of social and economic change, but also opens up creative possibilities for the musician beyond the studio and the home. The second part of the article examines the role of software in activating the laptop's capabilities. The growth of music software and Virtual Studio Technology in the early 2000s, it will be argued, represents a major transformation in music production. A case study is made of a single application, Ableton Live, to show that new forms of music software encourage norms of creativity and play that take it beyond emulations of hardware studios. A residual distrust of the laptop's automotive capabilities, however, reprises an anxiety in the history of popular music around questions of creativity and musicianship. The final part explores this anxiety and argues that the laptop is a place-holder for conflicting meanings about what belongs in music: productivity and creation, reality and virtuality, play and work, the cybernetic and the organic. It thereby reveals socio-technical imbroglios in action, where digitized music and software code meet the material properties of technologies and the practices of users in complex, networked societies.
机译：在本文中，我将介绍笔记本电脑在音乐制作中的一些图像，类别和开放式轨迹。目的是探索笔记本电脑在音乐场所（从网络空间到现场场所）中不断增长的存在，以及音乐与移动计算机化空间之间的关系。该文章中隐含了一种说法，即笔记本电脑是一种被忽略的设备，但是密切关注笔记本电脑在文化网络和日常环境中的位置是研究进入移动空间复杂纠缠和分层的某些可能方式的一种方式。本文的第一部分探讨了笔记本电脑，它是数字时代的原型游牧机器，已插入移动网络，集线器和流量中。笔记本电脑可以调节移动性，不仅可以为社会和经济变化的宏观过程提供服务，还可以为工作室和家庭以外的音乐家提供创造性的可能性。本文的第二部分检查了软件在激活笔记本电脑功能方面的作用。可以说，在2000年代初期，音乐软件和Virtual Studio Technology的增长代表了音乐制作的重大转变。以单个应用程序Ableton Live为例进行的案例研究表明，新形式的音乐软件鼓励创造力和演奏规范，而超越了硬件工作室的模仿。但是，对笔记本电脑的汽车功能的残留不信任感，使流行音乐历史上围绕创造力和音乐性的问题而感到焦虑。最后一部分探讨了这种焦虑，并指出笔记本电脑是占位符，代表着音乐中含义相互矛盾的含义：生产力与创造力，现实与虚拟性，娱乐与工作，控制论与有机。因此，它揭示了实际的社会技术动因，其中数字化的音乐和软件代码符合复杂的网络社会中技术的实质性特性和用户实践。

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