Music is seen as the most immaterial of the arts, and recorded music as a progress of dematerialization-an evolution from physical discs to invisibl… More. When I visited the bus in July, 1993, wild-potato plants were growing everywhere I looked in the surrounding taiga. Given the unprecedented reliance on streaming media during the coronavirus pandemic, the figure for 2020 will probably be even greater. When Clausen and Treadwell completed their analysis of wild-potato seeds, though, they found no trace of swainsonine or any other alkaloids.

MIT Press began publishing journals in 1970 with the first volumes of Linguistic Inquiry and the Journal of Interdisciplinary History.The supposed immateriality of music as data is belied by the energy required to power the internet and the devices required to access music online. Jonathan Southard, the assistant chair of the chemistry department at Indiana University of Pennsylvania, and persuaded Southard to have one of his students, Wendy Gruber, test the seeds of both Hedysarum alpinum and Hedysarum mackenzii for ODAP. Where markets for recorded music are concerned, ideology, struggle and profitability are inextricable from desire. bosses: King Slime, the Eye of Cthulhu, Ocram, and Plantera, each with their own summoning requirements. An immensely rigorous and compelling study, an absolute must-read, this book paves the way for a new ethics of music consumption.

Devine describes the people who harvest and process these materials, from women and children in the Global South to scientists and industrialists in the Global North. Kyle Devine knows, and in Decomposed he teaches us about such things with intelligence, humaneness, and passion.Paul Rekret, “Melodies Wander Around as Ghosts: On Playlist as Cultural Form,” Critical Quarterly 61(2) (July 2019): 56–76; Eric Drott, “Why The Next Song Matters: Streaming, Recommendation, Scarcity,” Twentieth-Century Music 15, no.