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Spin The Black Circle

McLuhan and Vinyl? I know – I sometimes stretch an idea to its snapping point but isn’t that why I bother to type all day?

Here goes – As I sit on the panels I’m invited to I often forget to remind myself that at the heart of all my discussions about music and technology the root of it is about my enduring passion for music.

Computer technology, especially web 2.0, has fooled many of us into thinking that we now have a “new” way of communicating. That is simply not true; we forget that Marshall McLuhan pointed out decades ago new technologies simply create new environments – the old environment then becomes the content of the new environment; Facebook simply allows us to digitize our Rolodex. The computer and its keyboard are the medium in this particular message. Our constant need to remain in touch with friends and family endures, and still will well beyond technology.

We should really be considering technology’s effect on the individual and society. Remember, e.e. cummings warned that “progress is a comfortable disease.” So where does music with its myriad genres and forms, its emotions and passionate responses, its common currency, fit into a “technological” culture?

Well consider this – Music is the medium is the message; bear with me here.
If music is the message then in McLuhan’s terms the vinyl record can be described as a technological extension [the medium] of the musicians body. The medium then creates the environment that produces effects [the media.] This then has an effect on society and culture where the starting point is always the individual – that is, you and me. McLuhan also advised against a rigid separation of the physical from the psychological.

If we then consider that the physics of media have changed yet the media that provides the atmospheres has not, and we understand that the effect is still psychological and can not be separated, do McLuhan’s ideas help us unravel the mystery of what innately binds us to the rhythms and lilts of music around the globe? [My argument carries over into live performance too where the instruments are extensions of the players bodies.]

Vinyl racks at Music Millennium Portland

Anyway, on to my thoughts about vinyl.

In a world of 320kb MP3s, FLAC, loss-less this that and the other files, I’m going to take a leap of faith here and hope that many of you jump in too – my premise is that a vinyl record surely has to be the purest embodiment of our universal love for music. It’s the closest thing to experiencing music live that I have heard. When compared to A to B, with A being an analog record and B being a CD, A wins every time for me. I share Neil Young’s comments in the digital vs analog wars – Young has acknowledged the benefit of hiss-free recording that digital technology offers, with the caveat that “along with the hiss went depth of sound and the myriad possibilities of the high end where everything is like the cosmos, exploding stars, echo.” [Read more of this discussion here.]

Digitizing music has made music more affordable and provided ease of use in portability but at the huge expense of having the emotional range, the highs the lows the rumbles, removed in the process. What we have been hearing on CD is a compressed version of a digital slice of the possible range of sound available to our ears. At live shows the bass sub woofers in the PA system allow you to literally ‘feel’ the bottom end, on CD or MP3 that experience is simply not available to you. Yet, when you play a vinyl record through a great hi-fi system you can experience it in a recording.
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As we celebrate Independence Day we can mull this over. Regardless of the facts of the case and Viacom’s complaint it would seem that, as the NYT reports, “the order raised concerns among users and privacy advocates that the online video viewing habits of hundreds of millions of people could be exposed.”

Via the New York Times:
A federal judge in New York has ordered Google to turn over to Viacom a database linking users of YouTube, the Web’s largest video site by far, with every clip they have watched there.

For every video on YouTube, the judge required Google to turn over to Viacom the login name of every user who watched it, and the address of their computer, known as an I.P., or Internet protocol, address. Both companies have argued that such data cannot be used to unmask the identities of individual users with certainty. But in many cases, technology experts and others have been able to link I.P. addresses to individuals using records of their online activities.

Here’s the back story on the lawsuit from FindLaw:

Viacom and its companies filed a copyright infringement lawsuit against YouTube and Google seeking at least $1 billion in damages.

The media company charges that “YouTube has harnessed technology to willfully infringe copyrights on a huge scale,” by taking “the value of creative content on a massive scale for YouTube’s benefit without payment or license. The suit alleges that the copyright infringement is on such a large scale that it “identified more than 150,000 unauthorized clips of their copyrighted programming on YouTube that had been viewed an astounding 1.5 billion times.”

Viacom details the “legitimate licensed channels” that it works with to distribute the company’s copyright-protected content. These partners include Apple’s iTunes Music Store and Joost.

The suit also charges that YouTube selectively deploys filtering technology “[b]y limiting copyright protection to business partners who have agreed to grant it licenses,” even though copyright holders are entitled to protection of their works under federal copyright law without such business agreements.