For our purposes, the sensory domain of greatest interest is that of hearing that is, the commodity forms that principally concern us are heard (even if also seen and felt). 2 The commodity here is, therefore, not only social and economic, but also bound up with the senses and with the creative sensibility, whose harnessing by human agent, device, corporation, and infrastructure helps constitute an aesthetic of mobility. Ultimately, the commodity form does not provide us with the analytic we seek, and in this volume we instead start from the premise that the commodityвЂ™s вЂњelementary formвЂќ always emerges in performance, in its consumption, in its being used (and used up), in the work that it does and the work done to it and through it. Task in Volume 2 is to attend to use value, the particularities of how and why devices are used, and how they shape and participate in sensory experience. To oversimplify: if the first volume of The Oxford Handbook of Mobile Music Studies, which focuses primarily on mobile music devices and markets and overarching theories about mobile music, might be said to deal with the commodityвЂ™s exchange value and its myriad ramifications, our In these examples, the commodity, however, does not appear as an вЂњelementary form,вЂќ but rather-to quote a Marx slightly younger than the one just summoned-as вЂњsensuous human activityвЂќ (1970:121). Or perhaps it begins with some smartphone playlists accessed via satellite, DJ set lists on a laptop computer, broadcasts funded by and acting as advertisements-each entailing complex social and economic relationships between user, device, and built environments. 1ДЄnd ours begins with a piece of rubber-sheathed plastic shoved deep in an ear canal, an immense speaker system bolted to a flatbed truck, a boombox swinging in a hand, or a transistor radio nestled close to a body under the covers in a darkened, late-night bedroom. Our investigation therefore begins with the analysis of the commodity. The wealth of societies in which the capitalist mode of production prevails appears as an вЂњimmense collection of commoditiesвЂќ the individual commodity appears as its elementary form. Keywords: mobile music, aesthetics, humanвЂ“device relationship, aesthetics of mobility, silent dance, silent rave, Nike, Hifana, Sonic City, Lalya Gaye, etiquette, relational aesthetics, materialism, phenomenology The chapter ends with a consideration of the relationship between aesthetics and etiquette. Each of these case studies emphasizes a different analytical register: the material, the phenomenological, and the relational. The chapter contains three extended case studies, one each on HifanaвЂ™s Shoe-J commercial for Nike, the interactive walk-piece Sonic City, and the Liverpool Street Station Silent Dance.

The authors suggest that the aesthetics of mobile music is not equivalent to an aesthetics of mere motion or movement instead it involves an investigation of the networked relations of human and device and a foregrounding of mobility as both capacity and sign. This chapter provides an introduction to the aesthetics of mobile music performance and argues for thinking together the categories of art and the everyday.

The World Is Your Stage: Making Music on the iPhone.

Creative Applications of Interactive Mobile Music.

Rhythm Heaven: Video Games, Idols, and Other Experiences of Play.

The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning.

A History of Handheld and Mobile Video Game Sound.

Rhythms of Relation: Black Popular Music and Mobile Technologies.

Music, Mobility, and Distributed Recording Production in Turkish Political Music.

Dancing Silhouettes: The Mobile Freedom of iPod Commercials.

Turning the Tables: Digital Technologies and the Remixing of DJ Culture.

(In)Visible Mediators: Urban Mobility, Interface Design, and the Disappearing Computer in Berlin-Based Laptop Performances.

Gestural Choreographies: Embodied Disciplines and Digital Media.

Soundwalking: Creating Moving Environmental Sound Narratives.

Creative Sonification of Mobility and Sonic Interaction with Urban Space: An Ethnographic Case Study of a GPS Sound Walk.

There Must Be Some Relation Between Mushrooms and Trains: Alvin CurranвЂ™s Boletus Edulis-Musica Pendolare.

Ding, Ding!: The Commodity Aesthetic of Ice Cream Truck Music.

вЂњCars with the BoomвЂќ: Music, Automobility, and Hip-hop вЂњSubвЂќ Cultures.

The Mobilization of Performance: An Introduction to the Aesthetics of Mobile Music.

Groove agent 4 outputting midi