Book contents
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Personal Take: - Can Machines Have Taste?
Published online by Cambridge University Press: 30 August 2019
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Summary
Music streaming platforms are determinant of the listening experience today. Their ability to profile users and to predict behaviours and tastes is key as their business-models are based on the loyalty of users. Drawing on a study of The Echo Nest, a music recommendation engine acquired by Spotify in 2014, which claimed to combine the analysis of the music signal with monitoring of consumer behaviour via the collection of their data for the first time, this essay interrogates automatic taste-profiling as a transformation of the philosophical concept of taste, opening up new perspectives on music and language.
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- The Cambridge Companion to Music in Digital Culture , pp. 86 - 88Publisher: Cambridge University PressPrint publication year: 2019