Online networks and the production of value in electronic music

Daniel Allington, Anna Jordanous, Byron Dueck

[Cross-posted from]

This project began with Pierre Bourdieu’s argument that cultural value is a form of belief. Drawing on Marcel Mauss’s work in the anthropology of religions, Bourdieu (1993 [1980]) argued that a painting or a poem is a sort of fetish: that is, a ‘magical’ artefact whose special status derives from the fact that believers hold it to be magical. So, for Bourdieu, cultural production involves not only the production of artefacts, but also the production of belief in the value of those artefacts. It’s easy to see how this would apply to what Bourdieu called the ‘field of large scale production’, i.e. the commercial culture industries: big businesses such as major record labels and Hollywood film studios invest both in the production of what is now called ‘content’ and in advertising and other forms of publicity through which to generate demand for that content. But what most interested Bourdieu was what he called the ‘field of restricted production’ or the ‘field of art and literature’, which puts little emphasis on the audience, is embarrassed by excessive commercial success, and appears to operate on the principle of ‘art for art’s sake’.

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SoundCloud and the social networks of electronic musicians: my talk at the Mitchell Centre, 16 June 2015

Last month, I was invited to speak at a Sociological Review symposium on Music and Social Networks, hosted by the Mitchell Centre for Social Network Analysis and organised by Nick Crossley, the author of Networks of sound, style, and subversion: the punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80 (MUP, 2015). It was a brilliant event, and I wish I could have stayed for the whole thing. As I was extemporising from slides, I don’t have any proper notes to put up here – but I do at least have the livetweets. So here they are. They’re a pretty good record of a lot of my main points, provided you read ‘@dr_d_allington did X’ as ‘@dr_d_allington and his colleagues did X’ whenever the topic is music, and remember that those colleagues were the brilliant Anna Jordanous and Byron Dueck (or do I mean @annajordanous and @ByronRDueck?). I’ve inserted comments on the tweets where necessary.

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