商品描述
A study of contemporary music in light of transformations to work and social life. The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure--the evening, the weekend, the dancehall--
Take This Hammer shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music.
Connecting contemporary changes in work and the economy to tendencies in popular music,
Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.
商品描述(中文翻譯)
在工作和社會生活轉變的背景下，對當代音樂的研究。
20世紀初流行音樂產業的出現不僅將音樂的生產和消費分開，還凸顯了勞動與休閒、工作場所與家庭領域之間的更廣泛分離。這些變化是工業社會的特徵，其中樂趣是在工作之外尋求的，但如今這些類別變得越來越模糊。隨著工作日延伸到家庭或與休閒時間無法區分，音樂在日常生活中的角色和意義也發生了變化。《Take This Hammer》認為，流行音樂的體驗在一定程度上受到其與工作的隔離以及僅限於休閒時間和空間（晚上、週末、舞廳）的限制的影響，並展示了近幾十年來工作變得越來越不穩定、兼職和臨時化的變化與流行音樂的轉變之間的關係。
《Take This Hammer》將當代工作和經濟的變化與流行音樂的趨勢相連接，展示了歌曲形式既反映了當代資本主義的發展，同時也暗示了超越資本主義的視野。從在線流媒體和工作日的延長到新興的陷阱說唱、生態危機和現場錄音、自動化和舞曲趨勢，通過探索當今時代工作和歌曲的交集，我們不僅可以對當代音樂文化有一個新的理解，還可以看到音樂如何可能指向超越資本主義本身中令人疏離的工作體驗的視野。
作者簡介
Paul Rekret is the author of three books: Down With Childhood: Pop Music and the Crisis of Innocence (2017); Derrida and Foucault: Philosophy, Politics, Polemics (2018); Monopolated Light and Power (with Edward George, Louis Moreno, Ashwani Sharma (forthcoming)), and editor of George Caffentzis's Clipped Coins, Abused Words & Civil Government (2021). He has published on political and cultural theory in journals such as Theory, Culture & Society, Constellations, South Atlantic Quarterly and his writing has appeared in Frieze, The Wire, Art Monthly, The New Inquiry, and elsewhere. He is a member of Le Mardi Gras Listening Collective and works on sound and ecological crisis as part of Amplification/Annihilation. He is a Lecturer in the School of Media and Communications at the University of Westminster.
作者簡介(中文翻譯)
Paul Rekret是三本書的作者: 《Down With Childhood: Pop Music and the Crisis of Innocence》（2017年）；《Derrida and Foucault: Philosophy, Politics, Polemics》（2018年）；《Monopolated Light and Power》（與Edward George、Louis Moreno、Ashwani Sharma合著，即將出版），並且是George Caffentzis的《Clipped Coins, Abused Words & Civil Government》（2021年）的編輯。他在《Theory, Culture & Society》、《Constellations》、《South Atlantic Quarterly》等期刊上發表了有關政治和文化理論的文章，他的作品還刊登在《Frieze》、《The Wire》、《Art Monthly》、《The New Inquiry》等刊物上。他是Le Mardi Gras Listening Collective的成員，並且作為Amplification/Annihilation的一部分，從事聲音和生態危機的研究。他是威斯敏斯特大學媒體與傳播學院的講師。
