Listener Discretion Advised: The Power and Politics of Intercultural Encounters on Music Radio
Notice bibliographique
Résumé
On April 14, 2007, rapper Cadence Weapon and indie pop musician Final Fantasy featured on Fuse, a weekly radio program produced by the Canadian Broadcasting Corporation (CBC) about serendipitous encounters between musicians from diverse scenes, styles, places, and cultures.By bringing together disparate strangers-or, at least, unlikely pairings-producers sought to stage unique performances that demonstrated the capacity for collaborations to spark creativity and enable communication across sometimes vast musical and cultural differences.This article addresses the deployment of power in situations of intercultural collaboration, exploring first how the form of the episode communicates ideological assumptions about the nature of multiculturalism and then focusing on two collaborative performances from the episode to demonstrate how the music may add to a more complicated discourse about social norms.In addition to pointing to the gulf that exists between intention and realization as a means of positively engaging the operationalization of principles of multiculturalism, my approach provides a potential model of analysis suitable for situations of intercultural performance that involve disparately present audiences and levels of mediation.I've been told to warn you that the upcoming episode of Fuse has coarse language and listener discretion is advised.Can you have listener discretion?Anyway, get ready to fuse now with Cadence Weapon and Final Fantasy. 1 These words, spoken over a fleeting moment of radio silence, prefaced the April 14, 2007, episode of Fuse, a weekly concert program produced by the Canadian Broadcasting Corporation (CBC) between 2005 and 2008.As the CBC's primary platform for recording "non-classical" live music, Fuse was an answer to representational imbalances during an era of rapid technological, social, economic, and political transition. 2 Canada's public broadcaster actively reimagined its services-and audience(s)-by rebranding its networks, exploring new technologies and production platforms, and dramatically re-facing programming with 1 Alan Neal, Fuse, April 14, 2007.2 When Fuse was cancelled in 2008, the CBC management circulated an email to staff that stated: "Radio One priorities regarding live music have changed and that while Fuse was once the only show on either network recording non-classical music, Radio 2's Canada Live has now become the prime venue for this" (internal email, July 31, 2008).Radio One and Radio 2 are the primary English-language networks operated by the CBC; Canada Live is a concert program.For more information on the CBC and its music programming, see Rebecca Draisey-Collishaw, "Curating Canadianness: Radio, fusion programming, and hierarchies of difference" (PhD diss., Memorial University of Newfoundland, 2017).Radio 3: A Disquieting Radio Revolution," MA Extended essays, Simon Fraser University, 2006, 64).The introduction of CBC Radio 3 targeted youth listenership and partially answered how to ensure the relevance of the CBC in the face of an aging population, but more widespread changes were also adopted.The Canadian Broadcasting Company/Radio-Canada's Strengthening and Renewing the CBC: Our Strategy at Work, CBC Corporate Plan Summary 2002-2003 to 2006-2007 (June 2002), https://site-cbc.radio-canada.ca/documents/vision/strategy/corporate-plan/complete-plan-2002-e.pdf,outlines the broadcaster's Strategic Plan for 2002-2007 and attempts to account for changing conditions of the period.Pierre C.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,007 | 0,016 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,001 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,001 |
| Études des sciences et des technologies | 0,027 | 0,043 |
| Communication savante | 0,016 | 0,007 |
| Science ouverte | 0,001 | 0,011 |
| Intégrité de la recherche | 0,004 | 0,006 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,006 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».