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UID:news4396@zasb.unibas.ch
DTSTAMP;TZID=Europe/Zurich:20250409T162225
DTSTART;TZID=Europe/Zurich:20250423T161500
SUMMARY:Sasha Newell: "'I Am the Noise': Spectacular Capital\, Online Celeb
 rity and the Economy of Attention in Coupé-Décalé Music"
DESCRIPTION:Tracing the spectacular rise of coupé-décalé music in parall
 el with the internet in Côte d’Ivoire\, Sasha Newell examines the figur
 e of the boucantier [noisemaker] through the lens of a political economy 
 of attention. Undocumented migrants in France\, the boucantiers captured a
 udience attention by giving away vast sums of money to performers on stage
 . Money floating through the air is a kind of noise – an interrupter tha
 t both destroys the content of the signal and draws attention to itself\, 
 creating a platform from which to make new value out of the spectacular. C
 oupé-décalé as a genre of music emerged aesthetically and pragmatically
  from the noise of interruption as it resonated from the dance floor to th
 e internet\, offering insight into the digital economy of attention now st
 ructuring our world.\\r\\nSasha Newell is an anthropologist specialized in
  material culture\, magic\, and mediation\, and has written about both Cô
 te d'Ivoire and the United States. He is the author of "The Modernity Bluf
 f: Crime\, Consumption\, and Citizenship in Côte d'Ivoire" from Universit
 y of Chicago Press.
X-ALT-DESC:<p>Tracing the spectacular rise of coupé-décalé music in para
 llel with the internet in Côte d’Ivoire\, Sasha Newell examines the fig
 ure of the <em>boucantier</em>&nbsp\;[noisemaker] through the lens of a po
 litical economy of attention. Undocumented migrants in France\, the <em>bo
 ucantiers</em> captured audience attention by giving away vast sums of mon
 ey to performers on stage. Money floating through the air is a kind of noi
 se – an interrupter that both destroys the content of the signal and dra
 ws attention to itself\, creating a platform from which to make new value 
 out of the spectacular. Coupé-décalé as a genre of music emerged aesthe
 tically and pragmatically from the noise of interruption as it resonated f
 rom the dance floor to the internet\, offering insight into the digital ec
 onomy of attention now structuring our world.</p>\n<p><strong>Sasha Newell
 </strong> is an anthropologist specialized in material culture\, magic\, a
 nd mediation\, and has written about both Côte d'Ivoire and the United St
 ates. He is the author of "The Modernity Bluff: Crime\, Consumption\, and 
 Citizenship in Côte d'Ivoire" from University of Chicago Press.</p>
DTEND;TZID=Europe/Zurich:20250423T180000
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