SPIN ME ROUND (LIKE A RECORD) A post-phenomenological analysis of human-technology relations in the re-popularisation of analogue media and technology; or the reasons why we “Shake it like a Polaroid picture” again.

Abstract

Is streaming music truly so different compared to playing music from a vinyl record, or does taking a photograph using an instant camera create a vastly different experience than taking a photo using a smartphone does, and that is exactly what this paper sets out to investigate. It is the aim of this thesis to research why analogue media and technology is becoming popular again. To achieve this aim, this thesis intends to provide an expansive interpretation of the various reasons as to why analogue media and technology have become popular again by contextualising how analogue media and technology have evolved to their current state and where this has happened. The analysis, then, takes technology as the starting point and concentrates on user experiences and context of use in developing an answer to the question why analogue media and technology have become popular again. What this means, practically, is that a post-phenomenological framework is used to analyse the context of use and user experiences of analogue media and technology. Post-phenomenology is a study of philosophy of technology which focusses on how technology mediates human experiences. The analysis is split into two separate chapters. One focusses on vinyl records and streaming services, while the other is concerned with instant and smartphone photography. The basis for the analysis consists of blog posts and comments to these posts, and digital newsletters written by (anonymous) users of analogue media and technology. Both these chapters are divided into two sections. In the case of music, one section will discuss the post-phenomenological interactions that are present with vinyl records, and the other section will do the same for streaming services. The chapter on photography will be split in a similar manner. One section examines the post phenomenological relations demonstrated in the use of instant cameras, and the other section focusses on the interactions that become apparent with the use of smartphone cameras. Both case studies are evaluated to clarify what the extent is of the differences and similarities in media practices for analogue and digital media and technology. In the last two chapters an interpretation of the analysis, a brief summary of the main findings and a reflection on what these mean for human interaction with media and technology is provided, as well as remarks on the limitations of the current study and suggestions for further research.