Differences
This shows you the differences between two versions of the page.
| Next revision | Previous revision | ||
| car_culture_annotated [2024/08/28 06:37] – created mete | car_culture_annotated [2024/09/06 07:39] (current) – mete | ||
|---|---|---|---|
| Line 14: | Line 14: | ||
| ==It's the RUSH== | ==It's the RUSH== | ||
| + | [[Its the RUSH]] \\ | ||
| ((Hahn, Tomie. "" | ((Hahn, Tomie. "" | ||
| Tomie Hahn writes about the experiences of field research during two events, watching the makeup being applied to a Japanese traditional dancer and her experience interviewing and watching monster truck rallies. She discusses the difficulty of being able to communicate the sensual experiences of these events and how language, and an implied sense of objectivity when writing as an ethnographer are at odds with these experiences. She discusses the importance of direct sense experiences in these events and how she encounters feelings that exceed an easy way of communicating them in a scholarly manner. Hahn says that these emotional responses to these events have the potential to be informative and are under used as way to define identity in genres that are about extreme experience. | Tomie Hahn writes about the experiences of field research during two events, watching the makeup being applied to a Japanese traditional dancer and her experience interviewing and watching monster truck rallies. She discusses the difficulty of being able to communicate the sensual experiences of these events and how language, and an implied sense of objectivity when writing as an ethnographer are at odds with these experiences. She discusses the importance of direct sense experiences in these events and how she encounters feelings that exceed an easy way of communicating them in a scholarly manner. Hahn says that these emotional responses to these events have the potential to be informative and are under used as way to define identity in genres that are about extreme experience. | ||
| Line 48: | Line 49: | ||
| This study gives another hint at the kind of design that goes into the manufacturing side of car culture. Early in the paper it says the 'right sound for right car' and this is exactly the kind of information this study is looking to demystify; what is the sound people look for to match their perceptions of a car? This paper was very likely used for research by major car manufacturers and the language, and effects of this kind of design see ripples in the culture we live in today. i imagine this like a kind of feedback loop, where the design of a cars sound is used to make it ' | This study gives another hint at the kind of design that goes into the manufacturing side of car culture. Early in the paper it says the 'right sound for right car' and this is exactly the kind of information this study is looking to demystify; what is the sound people look for to match their perceptions of a car? This paper was very likely used for research by major car manufacturers and the language, and effects of this kind of design see ripples in the culture we live in today. i imagine this like a kind of feedback loop, where the design of a cars sound is used to make it ' | ||
| + | ==Crossroads: | ||
| + | ((Widmer, E. L. " | ||
| + | |||
| + | Widmer presents a history of car references in rock and roll music. The theme of cars is a dominate theme in rock and roll with it being a key element of the freedom and lifestyle the genre presents. The history of car references are traced back prior to rock and roll to Blues music and the ways in which black musicians discuss the Ford motor company and the relations black workers had to the production and symbology of black cars. Rock and role continues this connection with cars being emblematic of a lifestyle with Cadillac cars being compared to women and are emblematic of an idealized post WWII lifestyle. The parallels to sex and beauty are embedded in the metaphors common in rock and role music. The essay ends by discussing Elvis Presley and Check Berry and how they lived out the lifestyle they presented in their music, both owning many cars throughout their careers. Both also outwardly presented their cars as status symbols of being successful musicians. | ||
| + | |||
| + | This history presents an interesting moment in post war America where the dominate music was presented to lower class individuals with a forward thinking mentality of upward mobility. This is represented by presenting a car dependent lifestyle that was synonymous with freedom and was a cultural ideal at that moment in history. This relationship generated strong brand and aesthetic relationships, | ||
| + | |||
| + | I don't think rock and roll is in itself within the scope of my work, but I do think it is an important contextualization of the ways the cars engage with culture. I am interested in a more literal car sound culture, rather then its use as a symbol in music. I do think this is relevant though because in many ways this fuels the nostalgia that classic cars carry today. One of the major introductions of cars in culture was this music and it was the beginnings of integrating cars into people images of self and the ways they have come to represent an aspirational element of lifestyle. | ||
| + | |||
| + | ==America’s Love Affair with the Automobile in the Television Age== | ||
| + | ((Marling, Karal Ann. “America’s Love Affair with the Automobile in the Television Age.” Design Quarterly, no. 146, 1989, pp. 5–20. JSTOR, https:// | ||
| + | |||
| + | Marling presents a specific perspective on the car, one that is visual construction designed to engage the senses, this is the car of the television age. Throughout the 1950 to the 1980s cars were mainly marketed through television, an object to be looked at, and the esthetics of cars are largely effected by this shift. Again the Cadillac is center in the discussion, presenting a vibrant pink car, with chrome accoutrements that is made to look like a piece of aviation technology. The importance of aviation is predominate in the design, though largely just for looks the cars were represented | ||
| + | |||
| + | This essay presents cars as pieces of artwork. It discusses the idea that cars were marketed on circular pedestals and rotated for viewers to experience at car shows, but this action had no resemblance to the act of driving them. This really gets at the idea that cars are not being presented even as something that someone drives, arguably the primary point, but instead something to be looked at and experienced. This shift in design seems to correlate with the increase in sound design, where the elements of a cars sound have less to do with the mechanical function but instead more to do with the idealization of what people want them to sound like. | ||
| + | |||
| + | Like the above essay on rock and roll this essays does a good job contextualizing cars as symbols. I now have a resource to use for both the sound elements of American culture as well as the visual elements that a re present in advertising and television. | ||
| + | |||
| + | ==Cars and Films in American Culture, 1929-1959== | ||
| + | ((Hey, Kennith. "Cars and Films in American Culture, 1929-1959." | ||
| + | Charting the parallels in the early film and car industries, cars and film had intense links. Cars enabled the film industry, with cars being the primary means that viewers went to the theater, and in the case of drive in theaters, the primary way to experience them. The escapism of film and cars are interlinked, | ||
| + | |||
| + | The implications of an isolated interior space in a car are interesting. This essay reinforces this idea in the ways this manifests in film. The essay presents Star Wars as 'hot rods in space' and this makes me think of the ' | ||
| + | |||
| + | ==Annoying Music in Everyday Life== | ||
| + | ((Trotta, Felipe. " | ||
| + | |||
| + | The way that we contextualize sound, as noise, sound or music is deeply effected by context. In many contexts, especially ones outside of the control of the listener all sounds can be noise. Much of our sonic experience, unless actively listening or in control of the sound becomes a framing of the space we are in, and that information is used to determine how safe and familiar we feel in those spaces. Trotta uses the example of soldiers in wartime, when they hear gunfire, even distantly it contextualizes the listeners in space, all relative to the sound, and also determines the degree of safeness felt by those listeners, based off of how far away that sound is. Additionally music playing outside our homes, in situations where the sound is carried in invades a sense of privacy and is primed to be received very negatively and enters the realm of noise. This ability to control our living environments and the sonic contexts we encounter is a precursor to enjoyment of sounds as music. | ||
| + | |||
| + | This essay is a good introduction to thinking about sound as both a social element as well as a contextualizing element for our bodies in space.I enjoy the way music contexts are also built up to and how that makes sense that degrees of agency and control are very important to hearing things as music. | ||
| + | |||
| + | This is a very useful essay for my work because it gives a sort of definition to when things are noise, sound, and music. If people hear car sounds as music (or as noise) the context of that experience is very much important and I will be discussing those terms under the language of agency and consent. | ||
| + | |||
| + | ==Pump up the Bass—Rhythm, | ||
| + | ((Labelle, Brandon. "Pump up the Bass—Rhythm, | ||
| ===NOTES=== | ===NOTES=== | ||
| - | [[Car Culture Bibliography]] \\ | + | {{topic> |
| - | [[Car Culture Literature Review]] \\ | + | |
| - | [[Car Culture]] Main \\ | + | |
| - | [[ucla summer|Competitive Edge Program Research Topics]] | + | |
| - | {{tag> | + | {{tag> |
