Living in the Immaterial World: Holograms and Spirituality in Recent Popular Music.
This article analyzes the recent popularity of “live” three-dimensional holographic performances in popular music. Holographic performers are the product of multiple human coders, typically interact with live musicians, and instigate live audience feedback. Thus they ironically celebrate a collectiv...
| Publicado en: | Popular Music & Society Vol. 39; no. 5; pp. 501 - 516 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=118415246&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 118415246 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007766 POA jtl: Popular Music & Society issn: 03007766 maglogo: Y pubinfo: dt: Dec2016 vid: 39 iid: 5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 118415246 10.1080/03007766.2015.1065624 ppf: 501 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 906KB tig: atl: Living in the Immaterial World: Holograms and Spirituality in Recent Popular Music. aug: au: McLeod, Ken su: Holography Spirituality Popular music Musicians Music industry Internet entertainment sug: subj: Holography Spirituality Popular music Musicians Music industry Internet entertainment ab: This article analyzes the recent popularity of “live” three-dimensional holographic performances in popular music. Holographic performers are the product of multiple human coders, typically interact with live musicians, and instigate live audience feedback. Thus they ironically celebrate a collective humanity through the seemingly artificial, and thereby provide an ephemeral and quasi-spiritual, if ultimately mechanical, sense of co-presence. Focusing on the well-publicized holographic “resurrection” of Tupac Shakur at the 2012 Coachella Music Festival and on performances by crowd-sourced Japanese vocaloid Hatsune Miku, this article posits that, rather than signaling a loss of human agency, holographic performances reinforce collective human consciousness and underline a new form of techno-spiritualism. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Popular Music & Society is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Popular Music & Society holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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