Reflections on historical series of art prices: Reitlinger's data revisited

This note of research argues that Reitlinger's series, and all other series such as Meyer's which are based on official auction sales reports, suffer from significant distortions. This distortion is caused by two main factors: a) the absence of data relating to the identity and the profession of the market agents involved in the transactions recorded in time series; b) the criteria of selection adopted to construct the historical series of prices.     

The splinter in your ear: Noise as the semblance of critique

Noise appears to critique the prevailing cognitive and social habits of modernity by providing concrete and particular art objects that demand attention and jar us from one‐dimensional life. Noise sounds, for a moment, like a true alternative not only to contemporary music but to a whole way of thinking through abstract generalisation and living through commercial mediation. Understood in this way, noise makes sense. Once noise is no longer inscrutable, however, it is assimilated into popular culture and becomes a commercial novelty. The blatant contradiction of the commodification of noise gives rise to a second order of critique wherein noise parades its uselessness and occasions reflection on the tortured existence of art in modernity, the ubiquity of identity thinking, and the relation between use and exchange value. This ironic endgame for noise, however, is itself absorbed by consumer culture and noise lives on as but another cool, extreme product. The cultural reception of noise thereby demonstrates the mechanism by which modernity absorbs artistic attempts to critique it, and noise is ultimately understood as a desperate but spectacular failure.     

Postcolonial remembering in Taiwan: 228 and transitional justice as “The end of fear”

ABSTRACT

This essay examines the contested dynamics of postcolonial remembering in Taiwan. Focusing on the long-suppressed 228 massacre in particular and the White Terror period in general, we bring Taiwan’s postcolonial remembering into international and intercultural communication studies by analyzing two contemporary sites: Taipei’s 228 Memorial Museum and the Cihu Memorial Sculpture Park. As our case studies demonstrate, Taiwan’s postcolonial remembering offers unique indications of how public memory work can help move a culture toward a sense of reconciliation, thus promoting what one of our collaborators called “the end of fear.”     

The Package as an Actor in Organic Shops

This article examines the different and often overlooked roles that packages can perform in specialised organic shops. The paper reports on case studies of three organic shops of different types: a pioneering alternative organic shop, a small shop run by a big cooperative company and a recently started organic shop with a modern style, all located in Sweden. In addition to interviews, the paper draws on material produced through visual analysis and participant observation. Packages were found to take four main roles: the repetitive package, the unobtrusive package, the unfamiliar package and the returnable package. These different roles are approached in terms of agency and as viewing the package as playing a key part in the actor-networks of organic food.     

The editorial playlist as container technology: on Spotify and the logistical role of digital music packages

ABSTRACT

This article explores the role of editorial playlists in Spotify’s streaming economy. In particular, it approaches Spotify’s playlists as container technologies – i.e. technical solutions that assemble, preserve, and transport music objects and thereby uphold logistical operations within the music industry. Such an approach seeks to complement previous research concerning playlists, which has often analyzed their emotional and affective dimensions but paid less attention to how playlists enhance calculative, mathematical, and logistical retail flows within the online music economy. On the one hand, the article considers how playlists – like containers in general – materialize principles of modularization and automation in ways that enhance control and remote oversight. On the other hand, it discusses how the playlist is far from a perfected means of measurement and control, and sometimes acts as an unruly transport device. Ultimately, the article shows how the playlist format occupies an uneasy position between order and disorder within the digital music economy which has not yet been fully accounted for in the context of music-oriented media studies.