If art, and especially music, has been framed in cultural sociology as a collective production relying on a variety of actors, technicians have been mostly framed as "support personnel" marginally impacting the meaning of a cultural production. This book analyzes sound technicians as technical intermediaries. They are autonomous actors of cultural production, and contribute in various ways to the meaning of live or recorded music performances, framed as a form of interaction rituals. From this analysis, it argues that artists should not be considered at the center of art worlds, and proposes a model including various types of actors in different roles, all necessary to produce a cultural object.

About the author:

Andy Battentier is a PhD in cultural sociology and former sound technician for theater and music.

Autorentext

Andy Battentier is a PhD in cultural sociology and former sound technician for theater and music.

Inhalt
INTRODUCTION: SOUND ENGINEERS AS A RESEARCH OBJECT.- TECHNICAL INTERMEDIARIES AND THE AGENCY OF OBJECTS: QUESTIONING GENERALIZEDSYMMETRY.- A COMPARATIVE APPROACH TO MAKING A LIVING FROM SOUND ENGINEERING.- CREATIVE CRAFT IN MUSIC: CAREERS AND ROLES OF SOUND TECHNICIANS.- THE POWER OF SOUND TECHNICIANS OVER THE SCRIPT: NEGOTIATIONS AROUND THE SHAPE OF THE PERFORMANCE'S OBJECT.- GROUP ENGAGEMENT OF TECHNICIANS AND AUDIENCES IN CONCERTS.- CONCLUSION: TECHNICAL ABILITY, ART WORLDS, AND PERFORMANCE PERSPECTIVE