Abstract
This series of studies make it clear that a wide range of both physical and digital resources are involved in domestic music consumption. The selection of digital resources is particularly evident, and it can be observed that domestic music consumption is a fragmented business, taking advantage of many different channels for getting, using and preparing music. While there are not a series of common channels, each home displayed a variety of methods in respect to using metadata in multiple different modalities: regardless, the activities involved in getting, using and preparing music cohere through a noticeable, emergent set of workflows. We find that not only does metadata support searching, as one might expect, but also it pervades all parts of the workflow and is used in real-time as a reflexive artifact and in terms of its future perceived/prescribed use. The findings of the research raise a series of possibilities and issues that form the basis for understanding and designing for metadata use.
Highlights
Why is metadata important? And, for that matter why is it important to understand the way that we interact with it and the systems that it plays a part in supporting and producing? This paper discusses these issues and provides new understandings based on detailed accounts of the use of metadata in terms of ‘‘getting music’’ prior to ‘‘playing’’ it
It is important to fully understand the ways that people use and reason about music-related metadata in a domestic setting as it provides us with ways in which to interact with musical artifacts, both digital and physical, and there have been related studies that relate to tags [3] and tagging [4,5,6], ordering, collections [7], descriptions [8], indexing [9] folksonomies and the ‘‘social’’ characteristics of music consumption [10], there still appears to be a gaping hole in the research literature if one attempts to understand what is involved in ‘‘doing’’ music consumption
This paper focused on the observable practical work that people do, the interviews showed that people were able to talk about music in relation to people, places and times, this is not insignificant in regard to design, data, searching and music-based ordering/navigation and temporal/event-based searching is certainly a space where one might seek to carry out future design-based interventions
Summary
Why is metadata important? And, for that matter why is it important to understand the way that we interact with it and the systems that it plays a part in supporting and producing? This paper discusses these issues and provides new understandings based on detailed accounts of the use of metadata in terms of ‘‘getting music’’ prior to ‘‘playing’’ it (we use the term prior-to-play in order to bring some clarity to the discussion at hand). This paper details the findings of the studies It first presents and works through a series of workflow sequence maps [15] to draw out grossly observable features of music consumption in the home: the local order of music consumption, its fragmented character, and way in which it coheres across settings through the interactional production of workflow. The studies contained within this paper make it perspicuous that mundane [16] music consumption takes work, not in the economic sense of the word, but work that the work is organized; that it involves the stable use of physical and digital resources to bring it about; and that metadata runs throughout its accomplishment
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