Sampling, cyborgs and simulation: popular music in the digital hypermodern

New Formations - ISSN 0950-2378
Volume 2008 Number 66

Sampling, cyborgs and simulation: popular music in the digital hypermodern
Nick Prior, pages -

Abstract

This article explores the ways in which computer technology has increased the elasticity of the popular musical text, lending it - as digital code - to repeated creation, formation, iteration; it looks at how this technology has dislocated popular music from a given place of creation and from the co-presence of its creators, facilitating a dispersed and mobile creativity; and looks at the ways in which it has dissolved distinctions between technological automation and human creativity, turning musicians into partners, not masters, of machines. Prior argues for an understanding of the digital mediation of popular music as a condition of radicalised modernity, or hypermodernity, rather than of postmodernity.

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To cite this article
Nick Prior (2008) Sampling, cyborgs and simulation: popular music in the digital hypermodern, New Formations, 2008(66), -

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