Introduction to the Second Edition
Introduction to the First Edition
1. MAKING SENSE OF THE WALKMAN
Introduction
What is ¿Culture¿?
Back to the Future: Materiality and Culture
Meanings and Practices
Meaning by Association: Semantic Networks
Back to the Future: Meanings and Associations
Signifying Practices
Contemporary Soundscapes
Back to the Future: Produsage: The Changing Relationship Between Production and Consumption?
Culture in the Age of Electronic Reproduction
Back to the Future - Benjamin v/2.0
Back to the future: Mobile Privatization?
Walk-men and Walk-women: Subjects and Identities
Back to the Future: Advertizing and Branding
Summary
2. THE PRODUCTION OF THE SONY WALKMAN
Introduction: The Many Origins of an Idea
Cultures of Production, Contexts of Innovation
Heroic Individuals
Back to the Future: Technological Innovation, Heroic Individuals and Distributed Agency
Sony, Japan and the United States
Sony: Signifying ¿Japan¿?
Happy Accidents at Work: Enter the Walkman
Making the Walkman to Sell: Connecting Production and Consumption
Assembling for the Young Consumer: The Mothers of the Invention
Naming the Machine: Sony Grammar
Marketing and Public Relations
Back to the Future: Promotional Culture
Monitoring Consumption and Market Research
Back to the Future: Produsage Revisited
3. DESIGNING THE WALKMAN: ARTICULATING PRODUCTION AND CONSUMPTION
Designers as Cultural Intermediaries
The Organization of Design at Sony
Lifestyling the Walkman
Back to the Future: The Power of Software: Culture Made Malleable?
The Walkman: How ¿Japanese¿ Is It?
4. SONY AS A GLOBAL FIRM
Following the Walkman: Competition and Financial Crisis
Sony Goes Global and Local
Back to the Future: The Global-Local Nexus
Combining Hardware and Software: The Culture Industry
Back to the Future: Synergies and Cultural Industries
5. CONSUMING THE WALKMAN
Introduction
Perspectives on Consumption
Back to the Future: Perspectives on Consumption
Back to the Future: Authenticity
The Production of Consumption
The Walkman and the Production of Consumption Critique
Back to the Future: "Revolutionary" Technologies?
Back to the Future: Optimism and Pessimism in Relation to Web 2.0
Back to the Future: No sense of Place?
Consumption as Socio-cultural Differentiation
Walkman Consumption and Social Differentiation
Consumption as Appropriation and Resistance
6. REGULATING THE WALKMAN
The Walkman and Questions of Cultural Regulation
The Walkman: The Public and the Private
Walkman Use and the Blurring of Boundaries
Back to the Future: Cultural Regulation of Modern Technologies
Summary of Chapters 5 and 6
Selected Readings
Reading A: Bruno Latour: ¿Technology is society made durable¿
Reading B: Axel Bruns: ¿Produsage: Towards a Broader Framework for User-Led Content Creation¿
Reading C: Walter Benjamin: ¿The work of art in the age of mechanical reproduction¿
Reading D: Raymond Williams: ¿Mobile privatization¿
Reading E: Ana Andjelic: ¿Time to rewrite the brand playbook for the digital¿
Reading F: Nick Lyons: ¿Scratching a global dream¿
Reading G: Shu Ueyama: ¿The selling of the "Walkman"¿
Reading H: Thomas A. Harvey: ¿How Sony Corporation became first with kids¿
Reading I: Lev Manovich: ¿There is Only software¿
Reading J: Jonathan Zittrain: ¿The Personal Computer Is Dead¿
Reading K: Rey Chow: ¿Listening otherwise, music miniaturized: a different type of question about revolution¿
Reading L: Lev Grossman: ¿Iran¿s protests: Twitter, the Medium of the Movement¿
Reading M: Tim O¿Reilly: ¿What Is Web 2.0¿
Reading N: Mirko Tobias Schäfer: ¿Bastard Culture! How User Participation Transforms Cultural Production¿
Reading O: Lain Chambers: ¿A miniature history of the Walkman¿
Reading P: Vincent Jackson: ¿Menace II society¿

Doing Cultural Studies

The Story of the Sony Walkman