Samantha Bennett

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critical, interdisciplinary framework of fetish, masculinity and sexuality studies, this research interrogates how audio technologies manufactured and intended for music production contexts become sexy. Applying a mixed-mode methodology, including an intensive discourse, image and material-semiotic analysis of an ‘epic’ sexy gear thread, we collated extensive data about technological fetishization. Sexy gear discourse articulates themes of voyeurism, acquisition, control and animation – linking the fetish value of technological objects and their connoisseurship with the erotic potential of sexualized objects. Such discourses ultimately serve to maintain social order, and become sites for performing the maintenance work of hegemonic masculine formations. This research provides new insights into how hegemonic masculinities depend upon the organization of online and offline sociability around fetishized material objects. Furthermore, our findings align with those of current scholarship focused on representational politics of technoculture.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.