Audible Infrastructures - Music, Sound, Media
Audible Infrastructures - Music, Sound, Media
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听觉基础设施 - 音乐、声音、媒体
DOI：
10.1093/oso/9780190932633.003.0006
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发表时间：
2021
期刊：
影响因子：
--
通讯作者：
Matt B
中科院分区：
文献类型：
--
作者：
Matt B
一个音乐对环境没有影响的世界是一个没有音乐的世界。虽然关于音乐的价值和好处的学术文献很多，但关于音乐的成本和后果的文献要少得多。现场音乐的价值和好处现在尤其众所周知。在数字化和在线流媒体时代，唱片业一直不适应，现场音乐行业的经济繁荣被视为一种救世主。事实上，现场音乐在2008年首次超过唱片业（在英国），截至2019年，其全球价值估计为279亿美元，并且还在增长（尽管应该指出的是，2020年冠状病毒大流行对该行业产生了毁灭性影响）。除了为许多音乐家和企业提供可观的收入来源外，现场音乐产业的实力还促进了城市地区的更新，导致旅游业的增长，促进了国民经济，并改善了许多人的音乐生活和社区。然而，现场音乐的文化价值和商业成功也带来了许多隐藏的成本和后果。这些可以是经济的、社会的、人类的，更重要的是，环境的。事实上，虽然现场体验通常被认为是一种特殊的直接联系形式，（对音乐家和歌迷来说），特别是在音乐越来越多地通过数字渠道传播的时候，音乐会的媒体形式只能通过所有基础设施关系来实现，这些关系包括交通和旅行以及表演空间的能源消耗和废物管理在节日里。考虑到这些因素，一个组织估计，英国音乐产业每年向大气中排放至少54万吨二氧化碳当量（也称为温室气体当量）。现场音乐行业占了这些排放量的绝大部分--大约75%。2因此，现场音乐的物质后果和环境成本是毫无疑问的。尽管如此，在音乐界，造成这种情况的大多数交通、旅行、能源和废物系统都被认为是理所当然的。
A world where music does not have an environmental impact is a world without music. While there is an abundance of scholarly literature on the values and benefits of music, there is much less on its costs and consequences. The values and benefits of live music in particular are now well known. In an era of digitalization and online streaming, to which the recording industry has been famously maladapted, the economic buoyancy of the live music sector has been seen as a kind of savior. Indeed, live music first outperformed the recording industry in 2008 (in the UK) and as of 2019 its global value was estimated at USD $27.9 billion and growing (although it should be noted that the 2020 coronavirus pandemic has had a devastating impact on the sector). 1 In addition to offering a substantial stream of income for many musicians and businesses, the strength of the live music industry has also contributed to the renewal of urban areas, led to increases in tourism, bolstered national economies, and enhanced the musical lives and communities of many people. Yet the cultural value and commercial successes of live music come with many hidden costs and consequences. These can be economic, social, human—and, crucially, environmental. In fact, while the live experience is often held up as a special form of immediate connection (for both musicians and fans), especially at a time when music is increasingly experienced as ubiquitously mediated through digital channels, the media format of the concert is only possible via all the infrastructural relations that underpin it. These include transport and travel as well as energy consumption in performance spaces and waste management at festivals. In attending to such factors, one organization estimates that the UK music industries emit at least 540,000 tons of carbon dioxide equivalents (also known as greenhouse gas equivalents) into the atmosphere each year. The live music sector accounts for the vast majority—roughly 75 percent—of those emissions. 2 There can therefore be no doubt about the material consequences and environmental costs of live music. Still, most of the systems of transport, travel, energy, and waste that contribute to this situation are taken for granted in the musical world.