Similarities and Differences between Hagen (2015) and Prey (2018)
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Introduction
The music streaming service includes features to help you organize your music list. This article explains how users can create, compile, manage, and use personal playlists, as well as define and understand their experiences. This analysis is based on a combination of research, including in-house music diary reports, online observations, and in-depth interviews with 12 influential Spotify users and WiMP music. The most heterogeneous control of static and dynamic playlists based on contextual music schemes for a music collection Hagen, (2015). Consumer control motivates various methods for playlists that show new ways to collect music using a pre-digital group, as well as streaming services.
On the other hand, Nothing personal: algorithmic individuation on music streaming platforms by Robert Prey discusses ideas by considering streaming music services online. First, compare how the two leading streaming platforms recognize individual music listeners. Based on Gilbert Simon Don’s personalization theory, he shows how to see personal works representing people on this platform. In particular, the display mode is highly dependent on the user category defined and requested by the advertiser. This article ends with a study of how trading offers to affect the “look” and “individualization algorithm” of music streaming platforms.
Robert Prey carefully examines how readers, viewers, or listeners are perceived as personalities on personalized platforms such as Amazon, Netflix, or Spotify. He will probably conclude that on this platform, there is not a single person, but there is an opportunity to see people as a person. Amid growing competition and crowded sectors, music streaming services such as Spotify and Pandora Internet Radio are different from their competitors. They are trying to slow down with more useful recommendations Prey, (2018). This drama uses Raymond Williams’ classic essay, Culture Is Simple, which focuses on the role of industrialization and the new media to publicize. He explained how a media audience lives in a world utterly different from Williams. Given the media users who have long been hidden, personalized media seem to open the table. In the era of personalization – when entertainment or the wishes of the consumer are satisfied, we see ourselves as people with different preferences.
Anja Nylund Hagen discusses how music-streaming services have changed records and CDs, as well as the current music format to become mainstream technology of everyday music listening. His focus on the atmosphere where there is an abundance of music and listening and collecting music is in flux. He claims that people are looking to more artists than before through streaming technology on their mobile devices. His findings examine the advantage flowing users have when they create and use their playlists, educate on individual user’s logics, structures, and preferences concerning content creation, organization, and the use of music in the current digital context. Hagen discusses the novel ‘High Fidelity’ by Nick Homby that describes a record collection as more potent than real life. According to Hagen, its originality that governs acquisition, combination, and organization of one’s record, and it’s the reason for the solace they provide Hagen, (2015).
Robert Prey describes how processes take place in two music streaming services –Pandora Internet Radio and Spotify. He focuses on how each service personalizes content for the listeners deriving from how they conceive of the personal music listener. Her makes comparison and contrasts the data subject that is enacted to personalize music and the ads on these services. He argues that instead of focusing on the relative accuracy and inaccuracy of the data shadow, listeners need to study the processes formation of the data subject and its implications for subject formation. Prey, (2018). He uses researches from French philosopher Gilbert Simondon that suggest we can understand algorithmic subject formations according to Simondon’s concept of individuation, which he refers to as ‘algorithmic individuation.’
Robert Hagen claims that all the participating music-streamers users own personal playlists in Spotify or WiMP music that is described as the playlists used in most days. These changes in playlist manipulation indicate that the user demonstrates too much individuality in the way they approach music-streaming services and further that playlists are regarded as either closed or open units of music depending on how static or dynamic they are. He suggests that with the static playlist, the listener retains the original taste of music for the life of the list. Traks that are ordered within the structure of the first album represent numerous static playlists, even though the new streaming services enable people to see fit. When composition and editing of playlist stops, they are termed as static. On the other hand, dynamic playlist management means that there is a steady increase in the content; more of the participants changed by adding material rather than subtracting.
Furthermore, Prey claims that there are ways of noticing individuals that are common to both the platforms. This concept provides people with information on how the data subject becomes enacted on different platforms beyond the stated platforms. First, just as many personalized media platforms, both Pandora and Spotify undermine the role that demographics play in recommending content. According to Prey, a good recommendation should not rely on demographics as demographics discriminate. He argues that recommenders should be mainly interested in what their consumers are interested in Prey (2018).
Furthermore, the rejection of fixed makers of identity is a common characteristic among different platforms. An individual music listener is understood to possess different music identities rather than only one identity. Prey focuses on Pagano et a, who analyses the assumption that personalization of recommenders system involves recommendations for a few individuals. This looks at the critical implications for serving listeners with personalized ads too.
Hagen analyses several ways in which participants explained their playlists are proving that music-streaming services attract multiple approaches and use of digital music. He applied different strategies where the people were provided with personal playlists. He mentions that assistance –provided suggestion inspired music exploration on people sometimes, Hagen, (2015). He expands on music streaming services allowing dynamic playlists to people t conveniently and flexibly assemble music according to preferences. This process is experimental, depending on the approach. People seem to find streaming services as more impactful than physical recording and even MP3 files in the current world.
Conclusion
In conclusion, Prey motivates streamers, especially those who carefully curate playlists rather than continuously revisiting the dynamic ones. According to Prey, Playlists are as unique as the listener behind it. New practices have come into place as a result of the introduction of playlists via streaming services, which was not the case in traditional times. How would we have the current world be without new streaming services? People are interested in streaming technology and fluidity, which can improve music experiences. Hagen analyses several ways in which participants explained their playlists are proving that music-streaming services attract multiple approaches and use of digital music. He applied different strategies where the people were provided with personal playlists.
REFERENCES
Hagen, A. N. (2015). The playlist experience: Personal playlists in music streaming services. Popular Music and Society, 38(5), 625-645.
Prey, R. (2018). Nothing personal: algorithmic individuation on music streaming platforms. Media, Culture & Society, 40(7), 1086-1100.
Hagen, A. N. (2016). The metaphors we stream by Making sense of music streaming. First Monday, 21(3).
Bonini, T., & Gandini, A. (2019). “First week is editorial, the second week is algorithmic”: Platform gatekeepers and the platformization of music curation. Social Media+ Society, 5(4), 2056305119880006.
Tzankova, V. Music in Streams: Communicating Music in the Streaming Paradigm Anja Nylund Hagen, Postdoctoral fellow, Dept. of Musicology, University of Oslo.
Alvarado, O. (2019, March). Breaking the Fourth Wall: Embodied Interfaces for a Better Algorithmic Experience with Recommender Algorithms. In Proceedings of the Thirteenth International Conference on Tangible, Embedded, and Embodied Interaction (pp. 711-714).
Hagen, A. N. Streaming Everyday Life.