Critical Media Studies

In this episode Barry and Mike discuss Denise Lu’s recent New York Times editorial, “Want to Enjoy Music More? Stop Streaming It.  Build a real music collection. Reintroduce intimacy to the songs you care about.” They attempt to re-frame the article in CMS friendly terms and end up with an extended investigation of the nature of intimacy and the archive.

On the occasions of their 50th episode, Barry and Mike get reflective.  The discuss the purpose or intent of the show, their favorite episodes, what they’d do over, and the biggest surprises that they’ve encountered so far. 

In this episode Barry and Mike discussion John Law’s 1992 essay, “Notes on the Theory of the Actor Network: Ordering, Strategy, and Heterogeneity” and in particular Law’s concepts of network composition, punctualisation, and translation. 

Barry and Mike discuss Bruno Latour’s essay, “On Actor-Network Theory: A few clarifications.” They work through his key terms in an attempt to better understand the new meanings he ascribes to actors and networks and what this theory allows us to do with media theory. 

The hosts dive into Jacques Attali's intriguing analysis of music's role in society, exploring the impacts of recorded music and background noise. They compare the philosophies of sound and technology, revealing how these affect the music landscape. Live performances are reshaped by recorded music, raising questions about the value of authentic experiences. The dialogue also navigates the complexities of music consumption, the haunting power of background music, and its influence on social dynamics, transforming deep cultural experiences into mere background noise.

In this episode Barry and Mike talk about Glenn Gould’s essay “The Prospects of Recording.” They focus on two central arguments from the essay – how technology creates the new, empowered, listener and the significance of background music. 

In this episode Barry and Mike discuss Andre Bazin’s collection of essays on new media and how the evolution of television and technological development impact how we see film.  Specifically, they discuss how “Industrial Art” challenges traditional ideas about aesthetics. 

In this episode Barry and Mike discuss Derrida's 1972 talk turned essay, "Signature, Event, Context." The episode engages his critique of Plato and Austin and turns to the relevance of his findings as they relate to AI. The discussion ends on a thought provoking read of human connection and the authenticity of language. They wonder, is AI a threat, or does it highlight our embarrassment over our inability to generate authentic language in the quest for human connection?

At Mike's insistence, the guys return for a second consecutive Adorno episode. "Opera and the Long-Playing Record" sees Adorno pivot, celebrating the advances and opportunities that the vinyl record affords music beyond archival purposes. Here, rather than denegrating vinyl as being a cheap proxy container for art, Adorno adopts a hopeful position, celebrating its ability to save art from staleness and its ability to create virtual spaces where art can be enjoyed free of distraction.

In this episode Barry and Mike work through Adorno's "The Form of the Phonographic Record", extrapolating his arguments against technology and the phonograph and marveling at the surprising about-face at the end of the essay.