” The reduction of listening–as an embodied practice–to the quantification and control of the audible spectrum, is, in other words, the history of compression”, – this post is relevant for the discussion about how to store ‘ the analogue’. I would argue that not only the mp3 is an expression of a tendency towards efficiency and making money, – any recording in any format is an expression of an industrial way of thinking. The logic of the recording as a sequence of small bites of information gives us a framework which makes us reproduce an idea of analogue storage as something linear and object like. Storing the analogue becomes an exercise similar to producing a good instead of being a culturally embedded practice, which is open and flexible, allowing for variation, chance and adaptability according to the moment, the use, the participants, etc..
The point that had lingered with me after first reading Jonathan Sterne’s essay “The mp3 as Cultural Artifact,” was the idea that the mp3 was a promiscuous technology. “In a media-saturated environment,” Sterne writes, “portability and ease of acquisition trumps monomaniacle attention . . . at the psychoacoustic level as well as the industrial level, the mp3 is designed for promiscuity. This has been a long-term goal in the design of sound reproduction technologies” (836). A technology, promiscuous? I did not have to look far to find support. Like germs, I could find copies of mp3s that I had downloaded from Napster in 2000 scattered across generations of my old hard drives. Often they were redundant, too – iTunes having archived a copy separate from my original download.
But, for Sterne, mp3s are also socially promiscuous. They accumulate in the hard drives of the working class and are shared, almost…
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