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Thank you for listening and participating.

Please feel free to contact me with questions, comments, or for further reading.

<akassabian8615@gmail.com>

Ubiquitous Music and Ubiquitous Listening

Anahid Kassabian, October 2016

What happens if we consider affect theory and distributed subjectivity in this mix?

What if most things are happening on these levels anyway?

Does it matter if you know your mood is being altered by music? When does it happen without you noticing? Is that important?

How should we--and how do YOU--feel about non-conscious methods of altering our moods without our consent?

What are the implications of this for our listening practices?

For our performance practices?

For our songwriting and composition?

  • Freud's notion of the unconscious
  • Neurological studies of decision making say we decide from 0.5-7 seconds before we know we have
  • Music helps stroke victims improve verbal memory, focussed attention, and depression.

How and why do

you use music?

How and why is music used in retail settings?

in production settings?

Why might we want to

regulate mood? How well

(ie speed, reliability, uniformity) does music work?

Whether we choose it or

not, why is ubiquitous music there? Is it always

for similar reasons, or are there different ones

in different contexts?

Let's talk about this.

Ubiquitous Music

and

Ubiquitous Listening

Take five minutes to think of how many places you have heard music in the last 24 hours. Make a list.

What is

the difference between

music that we hear in public places such as stores and private places such as homes?

Grocery store: ?

Home: ?

Public transport: ?

Shop: ?

Friend's home: ?

Bar or club: ?

Anahid Kassabian October 2016 Liverpool/Leiden

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