3.2 Everyday (Self-)Capture and Re-Appropriation: Audiovisual Objets Trouvés

Kapitel in diesem Buch

1. Frontmatter 1
2. Contents 5
3. Acknowledgements 7
4. 1 Introduction 9
5. 2 Towards a Conceptual Framework of Vernacular Re-Composition
6. 2.1 Media Texts and Authors of Referential Re-Composition on YouTube: An Overview 25
7. 2.2 Distributed Control and Immaterial Labour: Reflections on the Concept of Produsage 35
8. 2.3 A First Approach to YouTube-Situated Vernacular Aesthetics 45
9. 3 Contextualising and Categorising Media Objects of Musical Produsag
10. 3.1 Meta-Discursive Music Video 58
11. 3.2 Everyday (Self-)Capture and Re-Appropriation: Audiovisual Objets Trouvés 74
12. 3.3 Composing with Computational Surface and Interface Effects 87
13. 4 Circulation, Imitation, and Play
14. 4.1 Conceptual Remix Beyond Notions of Mechanistic Virality 106
15. 4.2 “Meme Music”? Meta-Memetic Play as Epitome of Viral Spread 128
16. 5 Musical (Micro-)Celebrities
17. 5.1 Musical Performance of the Self in Aspirational Channel Concepts 155
18. 5.2 Beyond Composition: Communication, Collaboration, and the Constitution of Channels 168
19. 5.3 “Role-Setters” and their Activated Community: Hypnotising Tendencies and Networked Relations 187
20. 6 Challenges and Vernacular Competencies of Selectivity and Evasion
21. 6.1 Transcending Ironic Distance in Networked (Re-)Composition 204
22. 6.2 How to be Differently Different – “Becoming-Imperceptible” in an Environment of Commensurability 221
23. 7 Conclusion 239
24. Bibliography
25. Secondary Sources 251
26. Primary Sources 263
27. List of Figures 275