By Petr Szczepanik, Patrick Vonderau (eds.)
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Additional info for Behind the Screen: Inside European Production Cultures
DeNora, Music in Everyday Life, x. , 92. , 95. , 96. See Tia DeNora, “Music as Agency in Beethoven’s Vienna,” in Myth, Meaning, and Performance: Toward a New Cultural Sociology of the Arts, eds Ron Eyerman and Lisa McCormick (Boulder, CO, and London: Paradigm Publishers, 2006), 103–120. Yaneva, “Scaling Up and Down”; Albena Yaneva, “How Buildings ‘Surprise’: The Renovation of the Alte Aula in Vienna,” Science Studies 21, no. 1 (2008): 8–28; Albena Yaneva, The Making of a Building: A Pragmatist Approach to Architecture (Oxford: Peter Lang, 2009); Albena Yaneva, Made by the Ofﬁce for Metropolitan Architecture: An Ethnography of Design (Rotterdam: 010 Publishers, 2009).
The claim that the product can be incorporated into the analysis in the new sociology of art draws attention to the unanswered question of how sociologists should deal with the artistic product. 14 The American sociologist of art Anne Bowler makes the following recommendation along the same lines: What is needed, therefore, is the development of a sociology of art capable of surmounting the traditional impasse that has existed between institutional and interpretive approaches to the study of culture and the arts.
If vocational careerism and the political economy of academic publishing inevitably pushes ﬁelds like production studies into mutually exclusive, zero-sum competitions, then we need to work hard institutionally to manage the partisanship in more productive and imaginative ways, while keeping in mind the bigger picture. My pragmatic approach is this: “culture” (not “cultural studies”) should be the research focus of a ﬁeld, whether one’s ﬁeld is cultural studies, sociology, anthropology, creative industries research, or informatics, for instance.
Behind the Screen: Inside European Production Cultures by Petr Szczepanik, Patrick Vonderau (eds.)