Introduction Nicholas Cook, Monique M. Ingalls and David Trippett 1. Digital technology and cultural practice Nicholas Cook Personal take 1: whatever happened to tape trading? Lee Marshall 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver Personal take 3: being a curator Ben Sinclair Personal take 4: can machines have taste? Stéphan-Eloïse Gras 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper 5. Witnessing race in the new digital cinema Peter McMurray Personal take 6: giving history a voice Mariana Lopez 6. Musical media in online devotion Monique M. Ingalls Personal take 7: technicians of ecstasy Graham St John Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron Personal take 9: algorave: dancing to algorithms Alex McLean 7. Rethinking liveness in a digital age Paul Sanden Personal take 10: augmenting musical performance Andrew McPherson Personal take 11: digital demons, real and imagined Steve Savage Personal take 12: composing with sounds as images Julio d'Escriván Personal take 13: compositional approaches to film, TV and video games Stephen Baysted 8. Virtual words from recording to video games Isabella van Elferen 9. Posthumanism and the generation of empathy David Trippett Personal take 14: in the wake of the virtual Frances Dyson 10. Digital inequalities and global sounds Shzr Ee Tan 11. The political economy of streaming Martin Scherzinger.
Introduction Nicholas Cook, Monique M. Ingalls and David Trippett 1. Digital technology and cultural practice Nicholas Cook Personal take 1: whatever happened to tape trading? Lee Marshall 2. Towards a digital history of music: new technologies, business practices, and intellectual property regimes Martin Scherzinger Personal take 2: on serving as an expert witness in the 'blurred lines' case Ingrid Monson 3. Shaping the stream: techniques and troubles of algorithmic recommendation K. E. Goldschmitt and Nick Seaver Personal take 3: being a curator Ben Sinclair Personal take 4: can machines have taste? Stéphan-Eloïse Gras 4. Technologies of the musical selfie Sumanth S. Gopinath and Jason Stanyek Personal take 5: vaporwave is dead, long live vaporwave! Adam Harper 5. Witnessing race in the new digital cinema Peter McMurray Personal take 6: giving history a voice Mariana Lopez 6. Musical media in online devotion Monique M. Ingalls Personal take 7: technicians of ecstasy Graham St John Personal take 8: live coded mashup with the humming wires Alan Blackwell and Sam Aaron Personal take 9: algorave: dancing to algorithms Alex McLean 7. Rethinking liveness in a digital age Paul Sanden Personal take 10: augmenting musical performance Andrew McPherson Personal take 11: digital demons, real and imagined Steve Savage Personal take 12: composing with sounds as images Julio d'Escriván Personal take 13: compositional approaches to film, TV and video games Stephen Baysted 8. Virtual words from recording to video games Isabella van Elferen 9. Posthumanism and the generation of empathy David Trippett Personal take 14: in the wake of the virtual Frances Dyson 10. Digital inequalities and global sounds Shzr Ee Tan 11. The political economy of streaming Martin Scherzinger.
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