Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène
This article offers a reflection on the effect of digital social networks as devices for putting live recordings into circulation. If through online posting and subsequent hosting, the recording becomes an archive (Bennett & Rogers, 2016), then in the same movement, the digitized private arc...
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| Format: | Article |
| Language: | fra |
| Published: |
Association Internationale des Sociologues de Langue Française
2023-10-01
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| Series: | Sociologies |
| Subjects: | |
| Online Access: | http://journals.openedition.org/sociologies/21569 |
| _version_ | 1797402825865560064 |
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| author | Sylvain Martet |
| author_facet | Sylvain Martet |
| author_sort | Sylvain Martet |
| collection | DOAJ |
| description | This article offers a reflection on the effect of digital social networks as devices for putting live recordings into circulation. If through online posting and subsequent hosting, the recording becomes an archive (Bennett & Rogers, 2016), then in the same movement, the digitized private archive can become public. Inspired by work on music and cultural scenes (Straw, 1991 ; Lussier, 2008), we propose to study the interactions surrounding the posting of concert videos of the Montreal hardcore scene by Andy Chico Mak who was heavily involved as a videographer. From 1997 to 2006, he filmed the majority of concerts in and around Montreal, amassing hundreds of video documents that he gradually shares via an Instagram account and a YouTube channel. This approach raises the question of the nature of the concert video in its circulation, its meaning for the person who shot it, but also for the communities (including the artists) that are attached to it. We hypothesize that the value of the live recording is built in part by the discourses that complement and characterize it. The publication in digital social networks allowing interactions constitutes an interesting research field to observe the effects of the circulation of unpublished archival contents and the exchanges which result from it. Our approach is rooted in online ethnography (Hine, 2017) and is based on the study of comments accompanying 342 videos posted on the Instagram account. A lengthy interview with the account owner was also conducted. Our investigation shows that the public digital circulation of live videos plays an important role in the life of music scenes as a practice of sharing, (re)discovery and discussion. |
| first_indexed | 2024-03-09T02:29:46Z |
| format | Article |
| id | doaj.art-96536449d6504c408c54e3298a00b7b4 |
| institution | Directory Open Access Journal |
| issn | 1992-2655 |
| language | fra |
| last_indexed | 2024-03-09T02:29:46Z |
| publishDate | 2023-10-01 |
| publisher | Association Internationale des Sociologues de Langue Française |
| record_format | Article |
| series | Sociologies |
| spelling | doaj.art-96536449d6504c408c54e3298a00b7b42023-12-06T15:35:11ZfraAssociation Internationale des Sociologues de Langue FrançaiseSociologies1992-26552023-10-0110.4000/sociologies.21569Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scèneSylvain MartetThis article offers a reflection on the effect of digital social networks as devices for putting live recordings into circulation. If through online posting and subsequent hosting, the recording becomes an archive (Bennett & Rogers, 2016), then in the same movement, the digitized private archive can become public. Inspired by work on music and cultural scenes (Straw, 1991 ; Lussier, 2008), we propose to study the interactions surrounding the posting of concert videos of the Montreal hardcore scene by Andy Chico Mak who was heavily involved as a videographer. From 1997 to 2006, he filmed the majority of concerts in and around Montreal, amassing hundreds of video documents that he gradually shares via an Instagram account and a YouTube channel. This approach raises the question of the nature of the concert video in its circulation, its meaning for the person who shot it, but also for the communities (including the artists) that are attached to it. We hypothesize that the value of the live recording is built in part by the discourses that complement and characterize it. The publication in digital social networks allowing interactions constitutes an interesting research field to observe the effects of the circulation of unpublished archival contents and the exchanges which result from it. Our approach is rooted in online ethnography (Hine, 2017) and is based on the study of comments accompanying 342 videos posted on the Instagram account. A lengthy interview with the account owner was also conducted. Our investigation shows that the public digital circulation of live videos plays an important role in the life of music scenes as a practice of sharing, (re)discovery and discussion.http://journals.openedition.org/sociologies/21569circulationmusicInstagramlivearchivehardcore |
| spellingShingle | Sylvain Martet Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène Sociologies circulation music live archive hardcore |
| title | Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène |
| title_full | Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène |
| title_fullStr | Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène |
| title_full_unstemmed | Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène |
| title_short | Du placard aux réseaux sociaux numériques : circulation de la mémoire d’une scène |
| title_sort | du placard aux reseaux sociaux numeriques circulation de la memoire d une scene |
| topic | circulation music live archive hardcore |
| url | http://journals.openedition.org/sociologies/21569 |
| work_keys_str_mv | AT sylvainmartet duplacardauxreseauxsociauxnumeriquescirculationdelamemoiredunescene |