For many people, the more tangible quality of older media formats is something of great value and significance. These groups find comfort and satisfaction in being able to pick up and feel physical items such as books, newspapers, photo albums and vinyl records. Something about the more tactile nature of these analogue mediums fosters a different level of interaction and enjoyment, allowing certain audiences to engage with their media in a more meaningful way.
This idea of tangible value is particularly relevant when discussing the “iconic status” (Smith 2011) and ongoing popularity that vinyl records have achieved in today’s largely digital media landscape. It is one of the few analogue formats to remain readily available in stores, and there are a number of justifications vinyl fans provide for their ongoing support of the (somewhat) superseded format.
There are those who assert that “there is something special about vinyl” (Yochim & Biddinger 2008), something more personable, warm and authentic. Because of their physical place in the world and their susceptibility to damage, vinyls are often considered items of greater value and worth. Analogue photographs are described in a similar manner by Keightley and Pickering, who state that physical photos are often thought of as being far more precious due to their “singular existence” (2014).
The physical processes involved in playing vinyl records are also thought to enhance audience engagement and overall attachment to the medium – with the ritual of removing a record from it’s sleeve and preparing the record player being seen as part of a more tactile experience. Digital media’s greater levels of convenience and accessibility can therefore impact its overall value suggests Bolin, who asserts that because digital media often lacks a tactile atangible form “it [can be] less labour intensive, less personal and [therefore] less [valuable]” (2016).
In creating this short video piece, I wanted to explore some of the ideas surrounding analogue media’s tangible qualities. I wanted to use my dad as a primary subject because he’s got a really diverse collection of music which consists of all kinds of different mediums – from a huge variety of vinyl records to an iPod Classic that’s packed full of music. He’s experienced music through every medium, and I thought that interviewing him would reveal some interesting insights into the value and quality of both analogue and digital music platforms.
My intention was to highlight the evolution of music distribution technologies and integrate brief snippets of anecdotal information to provide a more personable and relatable narrative. My dad doesn’t really believe vinyl is anything too special, and I thought that this lack of nostalgia and preference for (objectively) higher quality audio would be interesting to discuss in contrast to the arguments of vinyl appreciators.
REFERENCES:
Bolin, G 2016, ‘Passion and Nostalgia in Generational Media Experiences’, European Journal of Cultural Studies, vol. 19, no. 3, pp.250-264. Available from: SAGE Premiere 2007 [21 March 2017].
Keightley, E & Pickering, M 2014, ‘Technologies of Memory: Practices of Remembering in Analogue and Digital Photography’, New Media & Society, vol. 16, no. 4, pp.576-593. Available from: SAGE Communication Studies [21 March 2017].
Smith, J 2011, ‘Turn Me On, Dead Media’, Television & New Media, vol. 12, no. 6, pp.531-551. Available from: SAGE Communication Studies [21 March 2017].
Yochim, EC & Biddinger M 2008, ‘It kind of gives you that vintage feel: vinyl records and the trope of death’, Media, Culture & Society, vol. 30, no. 2, pp.183-195. Available from: SAGE Publications [23 March 2017].