Moving Forward: A Feminist Analysis of Mobile Music Streaming
The importance of understanding gender, space and mobility as co-constructed in public space has been emphasized by feminist researchers (Massey 2005, Hanson 2010). And within feminist theory materiality, affect and emotions has been described as central for experienced subjectivity (Ahmed 2012). Music listening while moving through public space has previously been studied as a way of creating a private auditory bubble for the individual (Bull 2000, Cahir & Werner 2013) and in this article feminist theory on emotion (Ahmed 2010) and space (Massey 2005) is employed in order to understand mobile music streaming. More specifically it discusses what can happen when mobile media technology is used to listen to music in public space and investigates interconnectedness of bodies, music, technology and space. The article is based on autoethnographic material of mobile music streaming in public and concludes that a forward movement shaped by happiness is a desired result of mobile music streaming. The valuing of ‘forward’ is critically examined from the point of feminist theory and the failed music listening moments are also discussed in terms of emotion and space.
Ahmed, Sara (2004): The Cultural Politics of Emotion, Edinburgh: Edinburgh University Press.
Ahmed, Sara (2010): The Promise of Happiness, Durham: Duke University Press. doi: 10.1215/9780822392781
Ahmed, Sara (2012): On Being Included: Racism and Diversity in Institutional Life, Durham: Duke Uni-versity Press. doi: 10.1215/9780822395324
Avdeeff, Melissa (2011): “Challenges Facing Musical Engagement and Taste in Digitality”, Situ-ating Popular Musics: IASPM 16th International Conference Proceedings, 15-23.
Berlant, Lauren (2008): The Female Complaint: The Unfinished Business of Sentimentality in American Culture, Durham: Duke University Press. doi: 10.1215/9780822389163
Bolter, Jay David & Richard Grusin (1999): Remedation: Understanding New Media, Cambridge: MIT Press.
Braidotti, Rosi (2003): “Becoming Woman: Or Sexual Difference Revisited”, Theory, Culture & Society, 20:3, 43-64. doi: 10.1177/02632764030203004
Bryant, Lia & Mona Livholts (2013): “Location and Unlocation: Examining Gender and Telepho-ny through Autoethnographic Textual and Visual Methods”, International Journal of Qualita-tive Methods, 12:2013, 403-419.
Bull, Michael (2000): Sounding Out the City: Personal Stereos and the Management of Everyday Life, Oxford: Berg. Cahir, Jayde & Ann Werner (2013): “Escaping the Everyday: Young People’s Use of Text Mes-sages and Songs”, Youth Studies Australia, 32:2.
Christensen, Christian & Patrick Prax (2012): “Assemblage, Adaptation and Apps: Smartphones and Mobile Gaming”, Continuum, 26:5, 731-739. doi: 10.1080/10304312.2012.706461
DeNora, Tia (2000): Music in Everyday Life, Cambridge: Cambridge University Press. doi: 10.1017/CBO9780511489433
Ellis, Carolyn (2004): The Ethnographic I: A Methodological Novel about Autoethnography, Wal-nut Creek: Altamira Press.
Gill, Rosalind (2014): “Academics, Cultural Workers and Critical Labour Studies”, Journal of Cultural Economy, 7:1, 12-30. doi: 10.1080/17530350.2013.861763
Goggin, Gerard (2011): “Ubiquitous Apps: Politics of Openness in Global Mobile Cultures”, Digi-tal Creativity, 22:3, 148-159. doi: 10.1080/14626268.2011.603733
Goldenzwaig, Gregory (2014): “Music Consumption Practices in the Age of the Cloud: Listening to Russia”, World of Media: Yearbook of Russian Media and Journalism Studies, 2013, 39-59.
Halberstam, Judith (2011): The Queer Art of Failure, Durham: Duke University Press. doi: 10.1215/9780822394358
Hanson, Susan (2010): “Gender and mobility: New Approaches for Informing Sustainability”, Gender, Place and Culture, 17:1, 5-23. doi: 10.1080/09663690903498225
Hine, Christine (2000): Virtual Ethnography, London: Sage.
Jenkins, Henry (2006): Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
Kendall, Lori (2002): Hanging Out in the Virtual Pub: Masculinities and Relationships Online, Berkeley: University of California Press. doi: 10.1525/california/9780520230361.001.0001
Krapp, Peter (2011): Noise Channels: Glitch and Error in Digital Cultures, Minneapolis: Univer-sity of Minnesota Press.
Massey, Doreen (2005): For Space, London: Sage.
McRobbie, Angela (2007): “Top Girls? Young Women and the Post-Feminist Sexual Contract”, Cultural Studies, 21:4-5, 718-737. doi: 10.1080/09502380701279044
Pariser, Eli (2011): The Filter Bubble: What the Internet is Hiding from You, London: Viking.
Perry, Imani (2004): Prophets of the Hood: Politics and Poetics in Hip Hop, Durham: Duke Uni-versity Press. doi: 10.1215/9780822386155
Railton, Dianne (2001): “The Gendered Carnival of Pop”, Popular Music, 20:3, 321-331. doi: 10.1017/S0261143001001520
Reed-Danahay, Deborah (1997): Auto/Ethnography: Rewriting the Self and the Social, Oxford: Berg.
Skånland, Marie (2012): A Technology of Well-Being: A Qualitative Study on the Use of MP3-Players as a Medium for Musical Self-Care, Oslo: Norwegian Academy of Music.
Sundén, Jenny (2012): “Desires at Play: On Closeness and Epistemological Uncertainty”, Games and Culture, 7:2, 164-184. doi: 10.1177/1555412012451124
Weber, Heike (2009): “Taking Your Favorite Sound Along: Portable Audio Technologies for Mobile Music Listening”, Karin Bijsterveld & José van Dijck (eds): Sound Souvenirs: Audio Technologies, Memory and Cultural Practices, Amsterdam: Amsterdam University Press, 69-82.
Werner, Ann & Sofia Johansson (2014): “Experts, Dads and Technology: Gendered Talk about Online Music”, International Journal of Cultural Studies, Online First, published ahead of print, doi: 10.1177/1367877914555463
Whiteley, Sheila (1997) (ed): Sexing the Groove: Popular Music and Gender, London: Routledge.
Copyright for all manuscripts rests with the author(s). The editors reserve the right to edit manuscripts. Contributors are responsible for acquiring all permissions from the copyright owners for the use of quotations, illustrations, tables, etc. Each author must, before final publication fill, in a publishing agreement provided by LiU E-Press.
Since 2021 Culture Unbound uses a Creative Commons: Attribution license for new articles, which allows users to distribute the work and to reform or build upon it without the author's permission. Full reference to the author must be given. For older articles please see each article landing page.