Doing Cultural Studies

Paul du Gay is a Senior Lecturer in Sociology at The Open University Stuart Hall was born and raised in Jamaica and arrived in Britain on a Rhodes scholarship to Oxford in 1950. In 1958, he left his PhD on Henry James to found the New Left Review, which did much to open a debate about immigration and the politics of identity. Along with Raymond Williams and Richard Hoggart he established the first Cultural Studies programme at a British university in Birmingham in 1964, bringing the study of popular culture into the understanding of political and social change.After spending more than four decades as one of the UK’s leading public intellectuals, Hall retired from formal academic life in 1997 and since then has continued to devote himself to questions of representation, creativity and difference. He became the chair of two foundations, Iniva, the Institute of International Visual Arts, and Autograph ABP, which seeks to promote photographers from culturally diverse backgrounds, and championed the opening of Iniva’s new Rivington Place arts complex in east London in 2007. Linda Janes is the Course Administrator for PhD Students in the School of Engineering at the University of Portsmouth. Anders Koed Madsen is Professor in Humanities at Aalborg University in Denmark.  Dr Hugh Mackay is an Honorary Associate of the Faculty of Sociology at Open University Keith Negus entered higher education as a mature student, having spent many years playing keyboards and guitar in a variety of bands after leaving school. He gained a degree in Sociology from Middlesex Universit and then completed a PhD study of the acquisition, production and promotion of recording artists at SouthBank University. He subsequently taught at the Universities of Leicester and Puerto Rico and was based in the Department of Media and Communications prior to moving the Department of Music at Goldsmiths. He is Director of the Popular Music Research Unit, convenor of BMus Popular Music, convenor of the MA Music (Popular Music Research) and a coordinating editor of Popular Music (Cambridge University Press).

• Introduction to the Second EditionIntroduction to the First Edition1. MAKING SENSE OF THE WALKMANIntroductionWhat is ′Culture′?Back to the Future: Materiality and CultureMeanings and PracticesMeaning by Association: Semantic NetworksBack to the Future: Meanings and AssociationsSignifying PracticesContemporary SoundscapesBack to the Future: Produsage: The Changing Relationship Between Production and Consumption?Culture in the Age of Electronic ReproductionBack to the Future - Benjamin v/2.0Back to the future: Mobile Privatization?Walk-men and Walk-women: Subjects and IdentitiesBack to the Future: Advertizing and BrandingSummary2. THE PRODUCTION OF THE SONY WALKMANIntroduction: The Many Origins of an IdeaCultures of Production, Contexts of InnovationHeroic IndividualsBack to the Future: Technological Innovation, Heroic Individuals and Distributed AgencySony, Japan and the United StatesSony: Signifying ′Japan′?Happy Accidents at Work: Enter the WalkmanMaking the Walkman to Sell: Connecting Production and ConsumptionAssembling for the Young Consumer: The Mothers of the InventionNaming the Machine: Sony GrammarMarketing and Public RelationsBack to the Future: Promotional CultureMonitoring Consumption and Market ResearchBack to the Future: Produsage Revisited3. DESIGNING THE WALKMAN: ARTICULATING PRODUCTION AND CONSUMPTIONDesigners as Cultural IntermediariesThe Organization of Design at SonyLifestyling the WalkmanBack to the Future: The Power of Software: Culture Made Malleable?The Walkman: How ′Japanese′ Is It?4. SONY AS A GLOBAL FIRMFollowing the Walkman: Competition and Financial CrisisSony Goes Global and LocalBack to the Future: The Global-Local NexusCombining Hardware and Software: The Culture IndustryBack to the Future: Synergies and Cultural Industries5. CONSUMING THE WALKMANIntroductionPerspectives on ConsumptionBack to the Future: Perspectives on ConsumptionBack to the Future: AuthenticityThe Production of ConsumptionThe Walkman and the Production of Consumption CritiqueBack to the Future: "Revolutionary" Technologies?Back to the Future: Optimism and Pessimism in Relation to Web 2.0Back to the Future: No sense of Place?Consumption as Socio-cultural DifferentiationWalkman Consumption and Social DifferentiationConsumption as Appropriation and Resistance6. REGULATING THE WALKMANThe Walkman and Questions of Cultural RegulationThe Walkman: The Public and the PrivateWalkman Use and the Blurring of BoundariesBack to the Future: Cultural Regulation of Modern TechnologiesSummary of Chapters 5 and 6Selected ReadingsReading A: Bruno Latour: ′Technology is society made durable′Reading B: Axel Bruns: ′Produsage: Towards a Broader Framework for User-Led Content Creation′Reading C: Walter Benjamin: ′The work of art in the age of mechanical reproduction′Reading D: Raymond Williams: ′Mobile privatization′Reading E: Ana Andjelic: ′Time to rewrite the brand playbook for the digital′Reading F: Nick Lyons: ′Scratching a global dream′Reading G: Shu Ueyama: ′The selling of the "Walkman"′Reading H: Thomas A. Harvey: ′How Sony Corporation became first with kids′Reading I: Lev Manovich: ′There is Only software′Reading J: Jonathan Zittrain: ′The Personal Computer Is Dead′Reading K: Rey Chow: ′Listening otherwise, music miniaturized: a different type of question about revolution′Reading L: Lev Grossman: ′Iran´s protests: Twitter, the Medium of the Movement′Reading M: Tim O´Reilly: ′What Is Web 2.0′Reading N: Mirko Tobias Schäfer: ′Bastard Culture! How User Participation Transforms Cultural Production′Reading O: Lain Chambers: ′A miniature history of the Walkman′Reading P: Vincent Jackson: ′Menace II society′

In today′s world, with economy the central tenet of contemporary culture and popular culture and finance inextricably linked, this exemplary Walkman study will be a template and a source of inspiration for scholars who appreciate the materiality of culture and continuity between production and consumption.Barbara CzarniawskaProfessor of Management Studies, University of Gothenburg This publication provides a welcome opportunity to return to a classic text of cultural studies pedagogy and to apply its insights to contemporary issues of culture, media and identity and their connections to the production and consumption of technology. The combination of the original Walkman case study with useful ′back to the future′ sections provides a great opportunity for students to reflect on the cultural meanings of smart phones, social media and user-generated knowledge. Dr Richard ElliottSchool of Media, Film and Music, University of Sussex