Search

The concept of ?live' has changed as a consequence of mediated culture. Interaction may occur in real time, but not necessarily in shared physical spaces with others. The Digital Evolution of Live Music considers notions of live music in time and space as influenced by digital technology. This book presents the argument that live music is a special case in digital experience due to its liminal status between mind and body, words and feelings, sight and sound, virtual and real. Digital live music occupies a multimodal role in a cultural contextual landscape shaped by technological innovation. The book consists of three sections. The first section looks at fan perspectives, digital technology and the jouissance of live music and music festival fans. The second section discusses music in popular culture, exploring YouTube and live music video culture and gaming soundtracks, followed by the concluding section which investigates the future of live music and digital culture.gives perspectives on the function of live music in digital culture and the role of digital in live musicfocuses on the interaction between live and digital musictakes the discussion of live music beyond economics and marketing, to the cultural and philosophical implications of digital culture for the artincludes interviews with producers and players in the digital world of music productionfurthers debate by looking at access to digital music via social media, websites, and applications that recognise the impact of digital culture on the live music experience

Reaching beneath the market surface of backpacker culture, this doctoral research probes uncomfortable politics, excluded voices and global inequalities. It questions why, in a context of economic inequality, environmental crisis, terrorism and war, the tourism industry continues to grow, unhampered by politically fractured and uneasy mediations of the world. Arguing that tourist modalities are defined in a popular memory matrix where the rules and norms for becoming a tourist are negotiated through conversation, television, popular literature, travel guides and the Internet, this research project critiques both popular and academic tourist pedagogy. In forging an interdisciplinary dialogue between Cultural Studies and Tourism Studies, this doctoral research seeks new ways of theorising depost-globalisation. Market-driven renditions of the tourable world displace, marginalise and exclude oppositional, negative, violent and discriminatory narratives. Placing a spotlight on the discomforts found in backpacker discourse requires the application of progressive meta-theoretical discourses, alongside postcolonial and poststructuralist analysis. A serious study of touristic popular culture implicates tourism in terrorism, backpacking in poverty, imperialism in globalisation, mobility in power and backpacker discourse in the re-writing of a contemporary subaltern. The original contribution to knowledge emerging from this doctorate is via the application of Bauman and Said's late work to independent tourist discourses. The innovation is formed through disciplinary connections and popular cultural applications. There is also a re-theorisation of Spivak's most famous study, applying metaphors of the pyre to sites of backpacker tourism, with the aim of developing listening literacies. My research justifies the introduction of two new theoretical trajectories for the Tourism Studies academy. The first new approach encourages and frames a listening literacy amongst tourist cultur