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Why Musicians Should Care About Their Audience

Invited lecture for Symposium CityProms, Leeuwarden, 26/6/2015

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Why Musicians Should Care About Their Audience

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Existential postdisciplinarity: personal journeys into tourism, art, and freedom

Postdisciplinarity makes claims on ontological, epistemic, and methodological levels, but it is inevitably a personal philosophical stance. This article represents an existentialist approach to the discourse on postdisciplinarity, offering reflective narratives of three academics. Tomas Pernecky discusses creativity, criticality, freedom, and methodological and epistemic pluralism; Ana María Munar reveals her journey of epistemological awakening; and Brian Wheeller underscores the importance of researchers' subjective and emotive voice. Jointly, the authors depict postdisciplinarity as an invitation to conceptual and interpretive eclecticism, critical analysis, and creative problem solving.

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Capturing the Imaginary

During the last decades students have become a target group for cities like Amsterdam. They are addressed as the talented forces that cities need in order to face increasing global competitiveness, a force which itself is represented as giving cities their dynamic edge.

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Pure quality!

It is important to see that although every person is pure quality, people produce quantity. Quantity is not automatically quality. We have to learn to control (tame) the scalability - the quantity generator - without throwing that inalienable quality organism - humans - into the abyss. H

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Interview with German Media Theorist Annekathrin Kohout about her Book Nerds, K-pop and Cuteness

Leipzig-based German media theorist Annekatherin Kohout has written a ‚cultural studies’ history of the nerd figure. Nerds, Eine Popkulturgeschichte was published in 2022 by C.H. Beck in Munich. I was drawn to this study as I’ve been surrounded by nerds, geeks and programmers that have been building and maintaining my dear medium, the internet, over the past three decades. To my surprise, the study does not take us to hackathons, Discord channels or the Chaos Computer Congress. Instead, it looks at the visual representation of this techno-figure in mainstream media such as film and television. Maybe that’s something to be proud of. From now on, nerds also have their own pop culture history. In my worldview, Hollywood screenwriters and television directors remain clueless about clumsy cyberculture and have mainly produced caricatures. But that’s not Kohouts take. For her, the representation of nerds in pop culture is key if we want to get a better understanding of the dynamics of mainstreaming digital culture.

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The destruction of Buddhas: dissonant heritage, religious or political iconoclasm?

This article attempts to explore the main impulses that might have led to the destruction of Buddha statues by Taliban in the Bamiyan Valley of Afghanistan. Drawing on existing literature, and anecdotal evidence, this article suggests that the main impulses that have led to destruction are rather linked to the overall political context of that time (i.e., political iconoclasm) rather than to pure Islamic iconoclasm or an explicit condition of disharmony in heritage (i.e., dissonant heritage). First, the Taliban did not consider the statues as "their" cultural heritage. The act of destruction, therefore, cannot be subscribed to the Afghan cultural dynamics but rather to the political-religious ideology imported by Taliban from outside of the country. Secondly, it seemed that Mullah Omar was viewing the statues as a revenue source at the beginning and as a political bargain chip at the end. In both circumstances, religion seems not to have played the main role. Lastly, the destruction seems a political iconoclasm-that is, a political exploitation, if not a direct political act. The Taliban and especially their external allies were very well aware of the consequences of the act of destruction. It seems implausible to suggest that there were no religion and/or culture in play when ordering the destruction of the statues. The latter is the least what this article aims for. However, to conclude that the destruction was solely triggered by theological and cultural factors might also be improbable. The author does not, in any way, attempt to rationalize the act of destruction, let alone justify the barbaric act.

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The destruction of Buddhas: dissonant heritage, religious or political iconoclasm?

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Can a Zero Become a Hero?

Part III Producing and Consuming Idols, Chapter II Since the first series of Pop Idol aired in the UK just over a decade ago, Idols television shows have been broadcast in more than forty countries all over the world. In all those countries the global Idols format has been adapted to local cultures and production contexts, resulting in a plethora of different versions, ranging from the Dutch Idols to the Pan-Arab Super Star and from Nigerian Idol to the international blockbuster American Idol. Despite its worldwide success and widespread journalistic coverage, the Idols phenomenon has received only limited academic attention. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format brings together original studies from scholars in different parts of the world to identify and evaluate the productive dimensions of Idols. As one of the world's most successful television formats, Idols offers a unique case for the study of cultural globalization. Chapters discuss how Idols shows address particular national or regional identity politics and how Idols is consumed by audiences in different territories. This book illustrates that even though the same television format is used in countries all over the globe, practices of adaptation can still result in the creation of unique local cultural products.

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Introduction: Adapting Idols

Introduction book Adapting Idols Since the first series of Pop Idol aired in the UK just over a decade ago, Idols television shows have been broadcast in more than forty countries all over the world. In all those countries the global Idols format has been adapted to local cultures and production contexts, resulting in a plethora of different versions, ranging from the Dutch Idols to the Pan-Arab Super Star and from Nigerian Idol to the international blockbuster American Idol. Despite its worldwide success and widespread journalistic coverage, the Idols phenomenon has received only limited academic attention. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format brings together original studies from scholars in different parts of the world to identify and evaluate the productive dimensions of Idols. As one of the world's most successful television formats, Idols offers a unique case for the study of cultural globalization. Chapters discuss how Idols shows address particular national or regional identity politics and how Idols is consumed by audiences in different territories. This book illustrates that even though the same television format is used in countries all over the globe, practices of adaptation can still result in the creation of unique local cultural products.

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Adapting Idols: Authenticity, Identity and Performance in a Global Television Format

Since the first series of Pop Idol aired in the UK just over a decade ago, Idols television shows have been broadcast in more than forty countries all over the world. In all those countries the global Idols format has been adapted to local cultures and production contexts, resulting in a plethora of different versions, ranging from the Dutch Idols to the Pan-Arab Super Star and from Nigerian Idol to the international blockbuster American Idol. Despite its worldwide success and widespread journalistic coverage, the Idols phenomenon has received only limited academic attention. Adapting Idols: Authenticity, Identity and Performance in a Global Television Format brings together original studies from scholars in different parts of the world to identify and evaluate the productive dimensions of Idols. As one of the world's most successful television formats, Idols offers a unique case for the study of cultural globalization. Chapters discuss how Idols shows address particular national or regional identity politics and how Idols is consumed by audiences in different territories. This book illustrates that even though the same television format is used in countries all over the globe, practices of adaptation can still result in the creation of unique local cultural products.

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Why Musicians Should Care About Their Audience