03940nam a22004455i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001100153072001600164072002300180072001700203245013800220250001800358264007900376300004400455336002600499337002600525338003600551347002400587490003900611505114800650520118201798650001902980650003302999650002703032650002103059700008303080700007803163710003403241773002603275776003603301776003603337776003603373830003903409856004603448978-3-031-45693-0DE-He21320251030110922.0cr nn 008mamaa240117s2024    sz |    s    |||| 0|eng d  a97830314569307 a10.1007/978-3-031-45693-02doi 4aP87-96 7aJFD2bicssc 7aSOC0520002bisacsh 7aJBCT12thema10aCreative Tools and the Softwarization of Cultural Productionh[electronic resource] /cedited by Frédérik Lesage, Michael Terren.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXIV, 269 p. 16 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aCreative Working Lives,x2662-41680 a1. Introduction: Refiguring the digital tools of creative work and cultural production -- Part 1: Frameworks for studying softwarization and cultural production -- 2.TikTok as a platform tool: Surveying disciplinary perspectives on platforms and cultural production -- 3.The Spatial Languages of Virtual Production: Critiquing Softwarization with Aesthetic Analysis -- 4.Generative AI and the Technological Imaginary of Game Design -- Part 2: Studies of cultural subjectivities after softwarization -- 5.Autoharps, Chord Organs, and MIDI Packs: Easy-Playing Instruments, Gender, and Classes of Musical Participation -- 6.Figurations of the Tool Agnostic -- 7.The expressive subject: prosumers, virtuosi, and digital musical control -- 8.Artist and Agency: Technologies for Exploring Self and Place -- Part 3: Socialities of softwarized cultural production -- 9.Alternative gamemaking tools as grassroots platforms -- 10.Bypassing defaults in data visualisation design processes: a Tableau case study -- 11.The Creative Appropriation of a Scientific Software: The FITS Liberator, a Case Study -- 12.Dolby Atmos Music and the Production of Risk.  aThis book explores how creativity is increasingly designed, marketed, and produced with digital products and services — a process referred to as softwarization. If ‘being creative’ has developed into one of the paradigmatic architectures of power for framing the contemporary subject, then an essential component of this architecture involves its material and symbolic configuration through tools. From image editors to digital audio workstations, video editors to game engines, these modern tools are used by creatives every day, and mastering these increasingly complex technologies is now a near-compulsory pathway to creative work. Despite their ubiquity in cultural production, few have sought to theorize them in aggregate and with interdisciplinary breadth. By bringing disparate creative and methodological traditions in one volume, this book provides a comprehensive overview of approaches for understanding this complex, emerging, and dynamic field that speaks beyond the disciplinary categories of ‘tool,’ ‘instrument,’ and/or ‘software’. It makes a unique intervention in the fields of cultural production and the cultural and creative industries. 0aDigital media. 0aCulturexStudy and teaching.14aDigital and New Media.24aCultural Theory.1 aLesage, Frédérik.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt1 aTerren, Michael.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303145692308iPrinted edition:z978303145694708iPrinted edition:z9783031456954 0aCreative Working Lives,x2662-416840uhttps://doi.org/10.1007/978-3-031-45693-0