어제도 역시, 귀뚜라미사마만 즐겁게 노래하는 캠프에서 샹그리아 500ml 첫손님을 맞으며 슬쩍슬쩍 보았는데요, 마치 캠프의 이야기를 대신 해주는 것 같아 재밌게 읽었습니다.
2009년도 9월 1일 자, International Journal of Cultural Studies에 실린 CO-CREATIVE LABOUR 특집이슈 중 한편인데요,
Amateur experts: International fan labour in Swedish independent music
Nancy K. Baym and Robert Burnett
International Journal of Cultural Studies 2009;12 433-449
http://ics.sagepub.com/cgi/content/abstract/12/5/433
그 동안의 공중캠프, 혹은 현재 공중캠프의 존재/활동이 어떤 의미가 있는지, 앞으로 공중캠프 커뮤니티가 어떤 고민/실천을 할 수 있을지 등에 대해, 같은 시간을 보내고 있는 스웨덴 인디 음악 씬의 사례를 통해 (비슷하면서도 다른 점들을) 되돌아 볼 수 있을 것 같습니다.
밑줄 친 단어/문장들:
- contemporary digital musical environment, international/potential audience, amateur experts, fan/free labour, immaterial labour, unpaid volunteer, participatory culture, gift economy
- costs and rewards, balance the tention(friction) between exploitation(time, little hope of profiting financially, burnout...) and empowerment(affective pleasure, to form relationships with artists, to help build audiences for those artists, and to make meaningful contributions to a cultural domain that brings them such pleasure., become friends., social/(sub)cultural capital, we want to spread the music we like, that's all., appropriate financial compensation), Maybe we should take a step back, maybe we're more influential than we thought we were., the answer is both/and., their social response to the pleasure of music is situated in deeply meaningful social phenomena that harkens back to much earlier phases of musical history, phases before there was an industry, when music was always performed in communities by locals for locals rather than by distant celebrities for adoring fans. These fans value spreading the pleasures they have enjoyed and building relationships with others in their (often intersecting) online and offline communities more than they value cash. They also value the social status and influence these practices enable them to attain. To claim that these people are exploited is to ignore how much these other forms of capital matter in the well-being of well rounded humans and to deny the capacity of these individuals to stop doing what they do.
- The Swedish Model(a coalition of seven independent Swedish labels), Bands don't have to wait for label., place/geography: Glasgow has now become a standard port of call for Swedish artists touring the UK., In a small way, we are helping to spread the Swedish music in Spain and that is our aim, the musical exchange between Spain and Sweden., have other jobs that help pay the bills., DIY aesthetic, truly indie, illegal but free flow, negotiate the boundaries between labours of love and exploitation in different constellation of industries. The theoretical frameworks we need to understand these phenomena may have to be built from the ground up., The model described here, in which the service the fans do is rewarded and appreciated, offers a positive strategy for adapting to the changes in the music industry and exemplifies one direction music and other entertainment industries may eventually go., internationalism of these amateur experts, ...
2009년도 9월 1일 자, International Journal of Cultural Studies에 실린 CO-CREATIVE LABOUR 특집이슈 중 한편인데요,
Amateur experts: International fan labour in Swedish independent music
Nancy K. Baym and Robert Burnett
International Journal of Cultural Studies 2009;12 433-449
http://ics.sagepub.com/cgi/content/abstract/12/5/433
그 동안의 공중캠프, 혹은 현재 공중캠프의 존재/활동이 어떤 의미가 있는지, 앞으로 공중캠프 커뮤니티가 어떤 고민/실천을 할 수 있을지 등에 대해, 같은 시간을 보내고 있는 스웨덴 인디 음악 씬의 사례를 통해 (비슷하면서도 다른 점들을) 되돌아 볼 수 있을 것 같습니다.
밑줄 친 단어/문장들:
- contemporary digital musical environment, international/potential audience, amateur experts, fan/free labour, immaterial labour, unpaid volunteer, participatory culture, gift economy
- costs and rewards, balance the tention(friction) between exploitation(time, little hope of profiting financially, burnout...) and empowerment(affective pleasure, to form relationships with artists, to help build audiences for those artists, and to make meaningful contributions to a cultural domain that brings them such pleasure., become friends., social/(sub)cultural capital, we want to spread the music we like, that's all., appropriate financial compensation), Maybe we should take a step back, maybe we're more influential than we thought we were., the answer is both/and., their social response to the pleasure of music is situated in deeply meaningful social phenomena that harkens back to much earlier phases of musical history, phases before there was an industry, when music was always performed in communities by locals for locals rather than by distant celebrities for adoring fans. These fans value spreading the pleasures they have enjoyed and building relationships with others in their (often intersecting) online and offline communities more than they value cash. They also value the social status and influence these practices enable them to attain. To claim that these people are exploited is to ignore how much these other forms of capital matter in the well-being of well rounded humans and to deny the capacity of these individuals to stop doing what they do.
- The Swedish Model(a coalition of seven independent Swedish labels), Bands don't have to wait for label., place/geography: Glasgow has now become a standard port of call for Swedish artists touring the UK., In a small way, we are helping to spread the Swedish music in Spain and that is our aim, the musical exchange between Spain and Sweden., have other jobs that help pay the bills., DIY aesthetic, truly indie, illegal but free flow, negotiate the boundaries between labours of love and exploitation in different constellation of industries. The theoretical frameworks we need to understand these phenomena may have to be built from the ground up., The model described here, in which the service the fans do is rewarded and appreciated, offers a positive strategy for adapting to the changes in the music industry and exemplifies one direction music and other entertainment industries may eventually go., internationalism of these amateur experts, ...
