Vortrag

Archaeology of Digital Dystopias

Pop-musical Documents of Discourses on Digitisation

In seinem Vortrag zeichnete Oliver Zöllner die Widerspiegelungen digitaler Transformationen in der Popmusik nach.
In seinem Vortrag zeichnete Oliver Zöllner die Widerspiegelungen digitaler Transformationen in der Popmusik nach.

In einem (englisch­sprachi­gen) Vortrag auf der Jahres­tagung der "Inter­national Asso­ciation for the Study of Popular Music" (IAMCR) an der Univer­sität Pader­born hat HdM-Professor Oliver Zöllner nachge­zeichnet, wie die Pop­musik vom Ende der 1960er-Jahre bis etwa 2000 das große Thema der digi­talen Trans­formation aufge­griffen und verar­beitet hat. Augen­fällig ist vor allem, wie vage und ober­fläch­lich sich Pop-Produktionen meist mit der Digitali­sierung befassen, obwohl gerade Musik­produktion und Musik­business stark von dieser Umwälzung be­stimmt wurden und werden.

In continuity with earlier musical works on the impacts of information technology (e.g., by Jefferson Airplane and Pink Floyd), five highly successful longplay albums stand out as key documents of popular discourses on technology that were nascent when these longplayers were released: the Alan Parsons Project's I Robot (1976), Kraftwerk's two seminal albums The Man-Machine (1978) and Computer World (1981) that were formative for emergent synth-pop genres, and Radiohead's concept album OK Computer (1997) and its follow-up Kid A (2000).

The presentation looked at these albums' negotiations of the future of mankind in the era of digital technology by analysing the musical, textual and pictorial messages that the LP (and subsequently CD) bundle format collects and which are treated as "documents" with a particular "habitus" (following the interpretive approach of Ralf Bohnsack's [2011] documentary method). Major topics that are identifiable on the albums focus on surveillance, power and society, and are presented in largely dystopian and paranoid terms by both the Alan Parsons Project and Radiohead, and somewhat ambiguously by Kraftwerk who are swaying between melancholy and fear of digital technology. Much of what we hear on these albums − or rather, what we don't hear on them − is in denial of digitisation, or at least avoiding any deeper negotiations of its impact on the individual or society at large. This is astounding if you consider their impact on popular collective imaginations. Radiohead's seminal and highly regarded OK Computer album, for instance, contains almost no references to digitisation or computerisation, but is full of moods that deal with despair, control, and surveillance. Kraftwerk's output, however, deviates from these shortcomings. On Computer World (1981) in particular they negotiate many of digitisation's topics that are still relevant today, such as data capitalism, creativity, online dating, and dominion − and they do so in astounding detail. In addition, with all their bleeps, chirps, whooshes and syncopated rhythms, Kraftwerk provided us with a soundtrack of digitisation that somehow stuck in our ears.

Music oscillating between utopian and dystopian visions

Many of the aforementioned attitudes, the presentation argued, have set the tone for future understandings of digitisation. What the records/documents under scrutiny are effectively offering is a foreshadowing of major topics of what we today call digital ethics, and it is in this light that we need to understand and decipher these albums today. Kraftwerk, it can be argued, have addressed digitisation, robotics, and artifical intelligence in the most versatile way, despite the fact that their lyrics (on The Man-Machine and Computer World) remain largely undecided and oscillating between utopian and dystopian visions. However, much of this lyrical production still reads like a well-structured programme for digital ethics in many ways (see Zöllner 2018).

Other artists/bands that were featured in the presentation include electronic pioneer Klaus Schulze and his Cyborg visions (1973), post-punk band Joy Division ("Digital", 1978), The Police (providing us with a catchphrase that stuck: "Too Much Information" on Ghost in the Machine, 1981), Queen (if only for their sleeve artwork on News of the World, 1977), synth-poppers Orchestral Manœuvres in the Dark (with their retro Dazzle Ships, 1983), drum & bass act Roni Size & Reprazent ("Digital" on New Forms, 1997), and laconic German rockers Tocotronic and their album Digital ist besser (1995) that exploits digital as a buzzword only. In pop music, digitisation is largely about sloganeering and name-checking, but that might be an overall message even beyond pop music.

 

Vortrag auf Veranstaltung: Transformational POP (4th IASPM D-A-CH Conference)
Veranstaltungsort: Universität Paderborn
Datum: 11.03.2021 bis 13.03.2021

Weiterführende Links:
International Association for the Study of Popular Music (IAMCR), German-speaking Branch
Zöllner, Oliver (2018): Wer sind die Roboter? Eine popkulturell abgeleitete Sicht auf das Mensch-Maschine-Verhältnis. In: Petra Grimm/Oliver Zöllner (Hrsg.): Mensch – Maschine. Ethische Sichtweisen auf ein Spannungsverhältnis. Stuttgart: Steiner, S. 7-17.


Autoren

Name:
Prof. Dr. Oliver Zöllner  Elektronische Visitenkarte
Forschungsgebiet:
Empirische Medienforschung, Soziologie der Medienkommunikation, Digitale Ethik, Public Diplomacy
Funktion:
Professor
Lehrgebiet:
Medien-, Publikums- und Marktforschung, sozialwissenschaftliche Methodenlehre, Soziologie der Medienkommunikation, Digitale Ethik, Public Relations, Public Diplomacy, Nation Branding, Hörfunkjournalismus
Studiengang:
Medienwirtschaft (Bachelor, 7 Semester)
Fakultät:
Fakultät Electronic Media
Raum:
216, Nobelstraße 10 (Hörsaalbau)
Telefon:
0711 8923-2281
Telefax:
0711 8923-2206
E-Mail:
zoellner@hdm-stuttgart.de
Homepage:
https://www.oliverzoellner.de
Oliver Zöllner

Eingetragen von

Name:
Prof. Dr. Oliver Zöllner  Elektronische Visitenkarte


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