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Re: arsclist record collecting
Interesting question. First, I'd like to suggest that--if I understand the
topic correctly--that at least for me the carrier is of far less importance
than the content...what SMPTE calls the "essence" of the program (as
opposed to all other data which is called "metadata"). In reality the
physical attributes of the carrier and the packaging is metadata by SMPTE's
definition. (SMPTE=Society of Motion Picture and Television Engineers)
I have a collector-friend who is more interested in the packaging than in
the content in many respects, but he is one of perhaps ten serious
collector friends who are at least as interested in the content. Some will
try and collect all variants of a released album.
One thing to consider is that while the carrier and the metadata in their
original form are interesting cultural artifacts, at some point these
records (and/or the machines to play them) will deteriorate to a point
where the content (both essence and metadata) are at risk, so my focus is
on preserving content rather than the artifact itself--which is not to say
I dispose of original artifacts--on the contrary I try to find homes for
them where they will be well cared for, happy with the knowledge that I've
done the best transfer that I can do.
I agree there is little that one can find on this. One book of interest
that touches on some of this and looks at the place of recording in society is
Morton, David; Off the Record-The Technology and Culture of Sound Recording
in America; Rutgers University Press, New Brunswick, New Jersey; 2000; ISBN
0-8135-2747-3 (paper), ISBN 0-8135-2746-5 (cloth) 99-27914 (CIP) call
numbers: TK7881.4.M66 2000 621.3899'3'0973--dc21
At 01:25 PM 03/03/2001 +0000, k mcbain wrote:
im a new member so i apologise for jumping straight in there...
im currently doing my thesis on music collecting - a topic about which i
have found very little info about with regards to critical and cultural
studies, namely the meaning of the records, tapes and CDs themselves as
opposed to the content contained within them.
whilst there has been a whole body of work done with regards to
'collecting' (from books to household objects), the meaning of 'things'
(including the stereo, hi-fi, radio and TV) in everyday life, individual
consumption of music (as 'texts') and of course collective consumption,
there is very little that i can find concerning the 'carriers' of music as
a site for individual and collective cultural production of meaning
if anyone has any idea as to any work regarding the uses and meanings of
record collections and the social effects of changes in the reproduction
of sound recordings on music collecting (following Benjamin's line of art
in the age of mechanical reproduction) I would exceedingly grateful.