@article{Weheliye_2017, title={Rhythms of Relation: Black Popular Music and Mobile Technologies}, url={https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5347}, DOI={10.7916/cm.v0i99/100.5347}, abstractNote={<p><span style="left: 90px; top: 229.435px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.990608);">In this essay I focus on the singular performances of the interface between </span><span style="left: 90px; top: 251.105px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.995849);">(black) subjectivity and informational technologies in popular music, ask-</span><span style="left: 90px; top: 272.775px; font-size: 18.3333px; font-family: serif; transform: scaleX(1.00922);">ing how these performances impact current definitions of the technologi-</span><span style="left: 90px; top: 294.445px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.997226);">cal. After a brief examination of those aspects of mobile technologies that </span><span style="left: 90px; top: 316.115px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.96924);">gesture beyond disembodied communication, I turn to the multifarious </span><span style="left: 90px; top: 337.785px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.986692);">manifestations of techno-informational gadgets (especially cellular/mobile </span><span style="left: 90px; top: 359.455px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.992458);">telephones) in contemporary R&B, a genre that is acutely concerned, both </span><span style="left: 90px; top: 381.125px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.999846);">in content and form, with the conjuring of interiority, emotion, and affect. </span><span style="left: 90px; top: 402.795px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.971158);">The genreā€™s emphasis on these aspects provides an occasion to analyze how </span><span style="left: 90px; top: 424.465px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.994302);">technology thoroughly permeates spheres that are thought to represent the </span><span style="left: 90px; top: 446.135px; font-size: 18.3333px; font-family: serif; transform: scaleX(1.00892);">hallmarks of humanist hallucinations of humanity. I outline the extensive </span><span style="left: 90px; top: 467.805px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.986954);">and intensive interdependence of contemporary (black) popular music </span><span style="left: 90px; top: 489.475px; font-size: 18.3333px; font-family: serif; transform: scaleX(1.00819);">and mobile technologies in order to ascertain how these sonic formations </span><span style="left: 90px; top: 511.145px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.972931);">refract communication and embodiment and ask how this impacts rul-</span><span style="left: 90px; top: 532.815px; font-size: 18.3333px; font-family: serif; transform: scaleX(0.931626);">ing definitions of the technological. </span></p>}, number={99/100}, journal={Current Musicology}, author={Weheliye, Alexander G.}, year={2017}, month={Apr.} }