By Clive Hamilton, Richard Denniss
Our homes are greater than ever, yet our households are smaller. our youngsters visit the simplest faculties we will come up with the money for, yet we infrequently see them. We’ve received more cash to spend, but we’re extra in debt than ever sooner than. what's going on?
The Western international is within the grip of a intake binge that's targeted in human heritage. We aspire to the life of the wealthy and recognized on the rate of relatives, buddies and private fulfilment. charges of rigidity, melancholy and weight problems are up as we strive against with the vacancy and unending disappointments of the patron life.
Affluenza pulls no punches, claiming our entire society is hooked on overconsumption. It tracks how a lot Australians overwork, the turning out to be mountains of stuff we throw out, the medicine we take to ‘self-medicate’ and the genuine that means of ‘choice’. thankfully there's a medication. a growing number of Australians are finding out to disregard the advertisers, lessen their customer spending and recapture their time for the issues that actually topic.
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Additional resources for Affluenza: When Too Much is Never Enough
Indeed, Theberge finds this technological productionconsumption nexus a stimulating site for exploring issues of creativity, technology and social meaning. An example of this nexus can be found in the introduction of computer music sequencers in the late 1970s. As musicians consumed the technology, their music changed - in this case, the constraints of the sequencers lead to the composition of particular musical structures. Theberge elaborates: “In the short term, step-entry programming led to the same kind of mechanical precision noted for the TR-808 drum machine and hip-hop music.
Com/. 18 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. widespread use of sampling - the sampler as a tool for the regeneration of sound. The musical application of these concepts and others will be explored in this dissertation. Thus, the posthuman is manifest not only in the critical interpretation of literature and film. It has also made its presence heard in the cultural production of music. As the first comprehensive study of the posthuman in music, surveying a variety of music-making, instruments, and aesthetics through the lens of technoculture theory, this dissertation builds specifically on the pioneering studies of the scholars whose works I outlined in the preceding section as well as works by an array of thinkers working in the realm o f music studies.
24 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Theorizing Creativity and Technology in Musical Practice I was also led to the topic of creativity, technology and the posthuman through my experiences as a musician and composer of electronic music. As a teenager over twenty years ago, I received a drum machine and monophonic synthesizer as birthday gifts. Along with a tape recorder and a piano, these machines were my personal musical system with which I composed short ambient pieces.
Affluenza: When Too Much is Never Enough by Clive Hamilton, Richard Denniss