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Subcultural dilettantism and online visibility

Conference Paper


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Abstract


  • It is standard practice in music-oriented subcultures

    for commitment to the scene to be expressed through

    knowledge of the musical history of that scene,

    as that is articulated, notably, through ownership of

    the recordings which form ‘the canon’. Typically, this

    collecting extends also to ‘paratextual’ material produced

    by musicians, labels, journalists, and other devotees:

    zines, books, T-shirts and other ephemera.

    In relation to ‘niche’ scenes, this practice of collecting

    is complemented by the relative rarity of the goods

    so collected. We can understand this interest in terms

    derived from Pierre Bourdieu, and developed latterly

    by Sarah Th ornton and others. It is not uncommon,

    for instance, for contemporary recordings released on

    cassette in some scenes to be limited to 250 or even 50

    copies. To own such artefacts, and to participate in the

    networks of exchange through which they are distributed,

    is a sign of scene immersion. What happens,

    then, when ‘the canon’, previously restricted in access

    because of the rarity and obscurity of its physical manifestations,

    becomes publicly available in the course

    of its digitisation?

    Th is question is framed here specifi cally in terms

    of subcultures with highly developed idioms for the

    expression of transgressive themes, where these themes

    and idioms may appear morally reprehensible to

    those outside the scene who have not been acculturated

    into the ‘correct’ ways to ‘read’ the material. Th is

    generates a conundrum, for scene participants on the

    one hand, as to how to ‘compete’ internally, and on the

    other, for those tasked with regulating this material.

Publication Date


  • 2013

Citation


  • Whelan, A. (2013). Subcultural dilettantism and online visibility. 12th Nordic Youth Research Symposium (pp. 46-46). Estonia: Institute of International and Social Sciences.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=2262&context=lhapapers&unstamped=1

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/1257

Start Page


  • 46

End Page


  • 46

Place Of Publication


  • http://www.tlu.ee/nyris12

Abstract


  • It is standard practice in music-oriented subcultures

    for commitment to the scene to be expressed through

    knowledge of the musical history of that scene,

    as that is articulated, notably, through ownership of

    the recordings which form ‘the canon’. Typically, this

    collecting extends also to ‘paratextual’ material produced

    by musicians, labels, journalists, and other devotees:

    zines, books, T-shirts and other ephemera.

    In relation to ‘niche’ scenes, this practice of collecting

    is complemented by the relative rarity of the goods

    so collected. We can understand this interest in terms

    derived from Pierre Bourdieu, and developed latterly

    by Sarah Th ornton and others. It is not uncommon,

    for instance, for contemporary recordings released on

    cassette in some scenes to be limited to 250 or even 50

    copies. To own such artefacts, and to participate in the

    networks of exchange through which they are distributed,

    is a sign of scene immersion. What happens,

    then, when ‘the canon’, previously restricted in access

    because of the rarity and obscurity of its physical manifestations,

    becomes publicly available in the course

    of its digitisation?

    Th is question is framed here specifi cally in terms

    of subcultures with highly developed idioms for the

    expression of transgressive themes, where these themes

    and idioms may appear morally reprehensible to

    those outside the scene who have not been acculturated

    into the ‘correct’ ways to ‘read’ the material. Th is

    generates a conundrum, for scene participants on the

    one hand, as to how to ‘compete’ internally, and on the

    other, for those tasked with regulating this material.

Publication Date


  • 2013

Citation


  • Whelan, A. (2013). Subcultural dilettantism and online visibility. 12th Nordic Youth Research Symposium (pp. 46-46). Estonia: Institute of International and Social Sciences.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=2262&context=lhapapers&unstamped=1

Ro Metadata Url


  • http://ro.uow.edu.au/lhapapers/1257

Start Page


  • 46

End Page


  • 46

Place Of Publication


  • http://www.tlu.ee/nyris12