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What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector

机译：音乐数字化告诉我们关于资本主义，文化和信息技术领域的力量

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This article examines a striking but under-analysed feature of culture under capitalism, using the example of music: that the main ways in which people gain access to cultural experiences are subject to frequent, radical and disorienting shifts. It has two main aims. The first is to provide a macro-historical, multi-causal explanation of changes in technologies of musical consumption, emphasising the mutual imbrication of the economic interests of corporations with sociocultural transformations. We identify a shift over the last twenty years from consumer electronics (CE) to information technology (IT) as the most powerful sectoral force shaping how music and culture are mediated and experienced, and argue that this shift from CE to IT drew upon, and in turn quickened, a shift from domestic consumption to personalised, mobile and connected consumption, and from dynamics of what Raymond Williams called 'mobile privatisation' to what we call 'networked mobile personalisation'. The second aim is to assess change and continuity in the main means by which recorded music is consumed, in long-term perspective. We argue that disruptions caused by recent 'digitalisation' of music are consistent with longer term processes, whereby music has been something of a testing ground for the introduction of new cultural technologies. But we also recognise particularly high levels of disruption in recent times and relate these to the new dominance of the IT industries, and the particular dynamism or instability of that sector. We close by discussing the degree to which constant changes in how people access musical experiences might be read as instances of capitalism's tendency to prioritise limiting notions of consumer preference over meaningful needs.
机译：本文以音乐为例，考察了资本主义制度下文化的一个惊人但未被充分分析的特征：人们获得文化体验的主要方式经常，激进和令人迷惑。它有两个主要目标。首先是对音乐消费技术的变化提供宏观历史的，多因果的解释，强调通过社会文化转型对公司的经济利益进行相互影响。我们认为，过去二十年来从消费电子（CE）到信息技术（IT）的转变是塑造音乐和文化如何被介导和体验的最强大的部门力量，并且认为这种从CE到IT的转变是有根据的，并且反过来，这一步也加快了，从国内消费向个性化，移动和联网消费转变，从雷蒙德·威廉姆斯（Raymond Williams）所谓的“移动私有化”到我们所谓的“网络移动个性化”。第二个目的是从长期的角度评估消费录制音乐的主要手段的变化和连续性。我们认为，最近的音乐“数字化”造成的中断与长期过程一致，因此音乐一直是引入新文化技术的试验场。但是，我们也认识到近来的破坏特别严重，并将其与IT行业的新统治地位以及该部门的特殊活力或不稳定联系在一起。我们在结束时讨论了人们在获得音乐体验方面的不断变化的程度，这可以看作是资本主义倾向的一种实例，这种倾向是将限制消费者偏好的概念优先于有意义的需求。

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