21st-century djs: spinning beyond the post-capitalist dream

James West of James burg University made a joke/meme in the circle of professional audio and live music events.
Imagine this scene: a crowded arena filled with thousands of fans who were looking forward to it.
A huge PA is on the side of a fully equipped stage, and its lighting has made a harsh sound to the crowd with state-of-the-art mobile head fixing beams.
The evening entertainment program is on the stage and everyone is watching it.
But it\'s not a band in ridiculous tight trousers, waving top-of-the-line instruments, elaborate guitars and drum kits.
No, this is a thin young white man with sunglasses and junk hair. . .
A little USB stick!
Okay, so the joke is a bit of a struggle, but the point is still-
Today\'s DJ culture tells us what is the intersection of music, technology and fans?
Another way to ask the same question --
How is today\'s pop music consumed by fans? It\'s a well-
This issue is out of date, but it is worth looking at again, in the context of the pop economy, there are more and more DIY production methods, and musicians and music producers are directly released through streaming services and downloads.
So far, the music has entered the mainstream, the great tradition of artists like Adele has been successful, selling millions of real CDs from music stores around the world, and now almost
Still one of the most influential ways to think about fluid and well impacts
Jacques Atari\'s book \"Noise: The Political Economy of Music\" is almost a virtual cycle of music production and consumption, as well as the cultural significance of the art form itself.
It was first published in French in 1977 and translated in 1985 by Brian Massumi.
New political economists, philosophers and confirmations
In the government of French President Francois mitterran, the liberal capitalist Attali stood out.
He believes that the social control and systemization of music can be used to mark capitalism itself from the feudal social structure to the post-
Capitalist.
Attali\'s compelling argument is that music is a basic ritual and a powerful social mechanism.
It went through ordering and cooperation
The choice of the current social and economic situation.
So, for example, he believes that in the era of industrial mass production and more or less passive consumption, music is presented in a commercial form.
This form embodies its ability to connect humans with one another, as well as its ability to think about the divine.
What we call \"vinyl records\" and \"CDS\", they are now replaced by music and become pure wavelengths in an accessible digital file format.
As a fetish, the return of vinyl has an interesting side light --
For enthusiasts and fanatics, this is an expensive and obsessed hobby.
But Atali\'s book is also an object of history.
Although its analysis may be sharp, its analysis has been replaced by the speed of technological development.
This brings us back to the skinny white DJ.
There are, of course, many examples of black DJs and various striped producers.
From Lee Perry to Carl Craig, many people have a huge influence in the history of contemporary pop music.
But we are talking about a representative and conservative \"white\" in the production and consumption of pop music \".
After what we call
Music has become a typical procedure in the capitalist era.
The DJ filled the sample with his console and the USB filled the mix and beat and has become a kind of youmusician.
The latest platform has evolved into a \"controller\" and each point is as complex and complex as a controller that controls the network of large buildings and IT systems.
They produce visual waveforms so that the DJ can match the beat on the screen.
They trigger loops, samples, beats. you name it.
They even have CDs.
Like the structure on the console, its purpose is to manipulate the building blocks of the song.
But they are also comforting the visual reminders of DJs when they actually manipulate discs to make new, often revolutionary music.
Like memes, fans don\'t mind getting their joy from the dj\'s minute memory stick.
Technology only in 2014-
Electronic dance music generated $0. 268 billion in revenue, up 11% from the previous year.
Every technological advance can be used for many purposes.
Our saturated and post-creative, authentic and original
Commodity Culture can be measured in a way that opposing and independent creators manipulate this technology to achieve unexpected goals.
Because music is a pioneer in understanding new ways of producing and consuming cultural goods, it is also a way for us to understand the profitability of cultural forms, a struggle that is taking place in the extreme confrontation of DJ technology.
James Sey, research assistant at the Research Center of the School of Fine Arts, Design and Architecture, burgburg University, the article was originally published in the conversation.
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