Benjamin A Morgan
Datos Biográficos
| ID | 6403167 |
|---|---|
| NOMBRE | Benjamin A Morgan |
| NOMBRES | Benjamin A |
| APELLIDO | Morgan |
| FIRMA | MORGAN B A |
| AFILIACIONES | MIT University |
| ORCID | 0000-0003-3777-351X |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 5 |
| TOTAL DE CITAS | 10 |
| TOTAL COMO AUTOR | 5 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2016 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
The Australian WEB3 music ‘community’ and the ‘indie’ mainstream
This paper examines the hesitancy of Australian musicians towards embracing the music non-fungible token (NFT) as a commodity. Drawing on the concepts of cultural autonomy and the digital disruptive sublime, the study argues that the overtly economic nature of NFTs challenges the ideology of creative independence in the hegemonic ‘indie’ music scene. Through interviews with nine Australian musicians who participated in our project, the research f…
Diminishing Dreams
Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. re…
The Cultural Turn in International Aid
In this chapter, I will reflect on my experience in Monrovia 20102013 as an expatriate concert promoter participating in the local music industries and subsequent research in 2014 as a consultant to the World Bank at a time when the sector was considered for inclusion in the countrys Private Sector Development Strategy (PSDS). Using the autoethnographic method (Chang 2008; Ellis et al. 2010), I will interrogate my participant observation as a cul…
Revenue, access, and engagement via the in-house curated Spotify playlist in Australia
This article analyzes the perception of recording industry change in Australia through a focus on the curated playlist as a sociotechnical intermediary. During the rapid expansion of commercial music streaming services between 2016 and 2018, musician and recording industry enthusiasm for revenue growth was tempered by trepidation surrounding change. This article presents findings from interview research conducted with Australian artists and music…
Developing cultural industries
Benjamin A. Morgan reviews 'Developing cultural industries: learning from the palimpsest of practice' by\nChristiaan De Beukelaer, Amsterdam, European Cultural Foundation, 2015
Developing cultural industries
Benjamin A. Morgan reviews 'Developing cultural industries: learning from the palimpsest of practice' by\nChristiaan De Beukelaer, Amsterdam, European Cultural Foundation, 2015
Revenue, access, and engagement via the in-house curated Spotify playlist in Australia
This article analyzes the perception of recording industry change in Australia through a focus on the curated playlist as a sociotechnical intermediary. During the rapid expansion of commercial music streaming services between 2016 and 2018, musician and recording industry enthusiasm for revenue growth was tempered by trepidation surrounding change. This article presents findings from interview research conducted with Australian artists and music…
Developing cultural industries
Benjamin A. Morgan reviews 'Developing cultural industries: learning from the palimpsest of practice' by\nChristiaan De Beukelaer, Amsterdam, European Cultural Foundation, 2015
The Cultural Turn in International Aid
In this chapter, I will reflect on my experience in Monrovia 20102013 as an expatriate concert promoter participating in the local music industries and subsequent research in 2014 as a consultant to the World Bank at a time when the sector was considered for inclusion in the countrys Private Sector Development Strategy (PSDS). Using the autoethnographic method (Chang 2008; Ellis et al. 2010), I will interrogate my participant observation as a cul…
Revenue, access, and engagement via the in-house curated Spotify playlist in Australia
This article analyzes the perception of recording industry change in Australia through a focus on the curated playlist as a sociotechnical intermediary. During the rapid expansion of commercial music streaming services between 2016 and 2018, musician and recording industry enthusiasm for revenue growth was tempered by trepidation surrounding change. This article presents findings from interview research conducted with Australian artists and music…
Diminishing Dreams
Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. re…
The Australian WEB3 music ‘community’ and the ‘indie’ mainstream
This paper examines the hesitancy of Australian musicians towards embracing the music non-fungible token (NFT) as a commodity. Drawing on the concepts of cultural autonomy and the digital disruptive sublime, the study argues that the overtly economic nature of NFTs challenges the ideology of creative independence in the hegemonic ‘indie’ music scene. Through interviews with nine Australian musicians who participated in our project, the research f…
Sociology (4 obras) · Cultural Industries and Urban Development (3 obras) · Music History and Culture (3 obras) · Political science (3 obras) · Business (2 obras) · Music industry (2 obras) · Advertising (1 obras) · Aesthetics (1 obras) · Affordance (1 obras) · Aide économique (1 obras)