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首页> 外文期刊>Information Communication & Society >IMAGINED MEMORIES: Webcasting as a 'live' technology and the case of Little Big Gig
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IMAGINED MEMORIES: Webcasting as a 'live' technology and the case of Little Big Gig

机译：想象中的记忆：网络广播是一种“实时”技术，以及Little Big Gig的案例

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摘要

Most discussions of popular music on the Internet focus on the Utopian potential of new file-sharing technologies, yet applications that reproduce existing inequalities also deserve attention. Webcasting is the streaming (transmission) of digital video to multiple recipients in cyberspace. Paul McCartney's Webcast from the Cavern was a landmark case. It was a digital package staged for reproduction, and yet it felt live; in this article I explore why and offer a two-part explanation. The first part is that 'live'-ness is based on an increasingly false opposition to recording, but, because that opposition still remains, Little Big Gig could seem live by adopting some trappings associated with it. The second part is that Internet use is mediated by daily life and computer users brought their own desire to the Webcast, in particular desires to see a Beatle play in the Cavern. Webcasting is an, unanticipated use of the Internet that is being used to support corporate interests. With its widespread publicity, Little Big Gig helped naturalize that process.
机译：Internet上有关流行音乐的大多数讨论都集中在新文件共享技术的乌托邦潜力上，但是，重现现有不平等现象的应用程序也应引起注意。网络广播是将数字视频流式传输（传输）到网络空间中的多个接收者。保罗·麦卡特尼（Paul McCartney）在洞穴中进行的网络广播是一个具有里程碑意义的案例。这是一个用于复制的数字软件包，但它感觉很生动。在本文中，我将探讨原因，并分两部分进行说明。第一部分是“活”性是基于对录音的越来越错误的反对，但是，由于这种反对仍然存在，Little Big Gig似乎可以通过采用一些与之相关的陷阱而显得活着。第二部分是互联网的使用是日常生活的媒介，计算机用户将自己的愿望带到了网络广播中，尤其是希望在甲洞中观看甲壳虫乐队的演出。网络广播是对Internet的一种意想不到的使用，用于支持公司利益。通过广泛的宣传，Little Big Gig帮助使该过程自然化。

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