BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.6.0//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news389@ethnologie.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250321T121211 DTSTART;TZID=Europe/Zurich:20250423T161500 SUMMARY:“I Am the Noise”: Spectacular Capital\, Online Celebrity and th e 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\, we examine the figure of the bo ucantier [noisemaker] through the lens of a political economy of attentio n. Undocumented migrants in France\, the boucantiers used techniques of a ttention capture to transform themselves into celebrities\, something like influencers before social networks existed. The boucantiers captured audi ence attention by giving away vast sums of money to performers on stage. M oney floating through the air is a kind of noise – an interrupter that b oth destroys the content of the signal and draws attention to itself\, cre ating a platform from which to make new value out of the spectacular. Coup é-décalé as a genre of music emerged aesthetically and pragmatically fr om the noise of interruption as it resonated from the dance floor to the i nternet\, offering insight into the digital economy of attention now struc turing our world.\\r\\n\\r\\nSasha Newell is an anthropologist specialized in material culture\, magic\, and mediation\, and has written about both Côte d'Ivoire and the United States. He is the author of "The Modernity B luff: Crime\, Consumption\, and Citizenship in Côte d'Ivoire" from Univer sity of Chicago Press. More recently he has focused on hoarding\, clutter\ , and domestic accumulation in late capitalist society. X-ALT-DESC:

Tracing the spectacular rise of coupé-décalé music in para llel with the internet in Côte d’Ivoire\, we examine the figure of the boucantier \;[noisemaker] through the lens of a political eco nomy of attention. Undocumented migrants in France\, the bouc antiers \;used techniques of attention capture to transform thems elves into celebrities\, something like influencers before social networks existed. The boucantiers captured audience attention by giving a way vast sums of money to performers on stage. Money floating through the air is a kind of noise – an interrupter that both destroys the content o f the signal and draws attention to itself\, creating a platform from whic h to make new value out of the spectacular. Coupé-décalé as a genre of music emerged aesthetically and pragmatically from the noise of interrupti on as it resonated from the dance floor to the internet\, offering insight into the digital economy of attention now structuring our world.

\n\n< p>Sasha Newell is an anthropologist specialized in materi al culture\, magic\, and mediation\, and has written about both Côte d'Iv oire and the United States. He is the author of "The Modernity Bluff: Crim e\, Consumption\, and Citizenship in Côte d'Ivoire" from University of Ch icago Press. More recently he has focused on hoarding\, clutter\, and dome stic accumulation in late capitalist society.

DTEND;TZID=Europe/Zurich:20250423T180000 END:VEVENT END:VCALENDAR