![]() It is also suggested that the incommensurability of conflicting paradigms is an underlying cause of the problems in multidisciplinary practice, and a number of criteria for support to overcome such problems are proposed.Ī form of methodological support, which it is claimed may help overcome some of the problems associated with multidisciplinary practice in requirements engineering, is developed. It is argued that multidisciplinary requirements engineering practice is ineffective, and some specific problems for multidisciplinary practice are identified. This paper develops an approach that supports multidisciplinary practice in requirements engineering. Gayraud demonstrates that, far from being the artless and trivial mass-produced pabulum denigrated by Adorno, pop is a rich, self-reflexive artform that recognises its own contradictions, incorporates its own productive negativity, and often flourishes by thinking "against itself."ĭialectic of Pop sings the praises of pop as a constitutively impure form resulting from the encounter between industrial production and the human predilection for song, and diagnoses the prospects for twenty-first century pop as it continues to adapt to ever-changing technological mediations.Formerly: Ergonomics and HCI Unit, University College London, 26 Bedford Way, London WC1H OAP, UK. Inseparable from the materiality of its technical media, indifferent and intractable to the perspectives of high culture, pop subverts notions of authenticity and inauthenticity, original and copy, aura and commodity, medium and message. ![]() In a thoroughgoing engagement with Adorno's fierce critique of "standardized light popular music," Dialectic of Pop tracks the transformations of the pop form and its audience over the course of the twentieth century, from Hillbilly to Beyoncé, from Lead Belly to Drake. In the first major philosophical treatise on the subject, Agnès Gayraud explores all the paradoxes of pop-its inauthentic authenticity, its mass production of emotion and personal resonance, its repetitive novelty, its precision engineering of seduction-and calls for pop (in its broadest sense, encompassing all genres of popular recorded music) to be recognized as a modern, technologically mediated art form to rank alongside cinema and photography. If you can’t find the resource you need here, visit our contact page to get in touch.Įstablished in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design.Ī philosophical exploration of pop music that reveals a rich, self-reflexive art form with unsuspected depths. The MIT Press has been a leader in open access book publishing for over two decades, beginning in 1995 with the publication of William Mitchell’s City of Bits, which appeared simultaneously in print and in a dynamic, open web edition.Ĭollaborating with authors, instructors, booksellers, librarians, and the media is at the heart of what we do as a scholarly publisher. Today we publish over 30 titles in the arts and humanities, social sciences, and science and technology. MIT Press began publishing journals in 1970 with the first volumes of Linguistic Inquiry and the Journal of Interdisciplinary History. International Affairs, History, & Political Science.MIT Press Direct is a distinctive collection of influential MIT Press books curated for scholars and libraries worldwide.
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