Translating Sound and Light

This thesis explores the symbiotic relationship between sound and light technicians and technology in live electronic music events through the lens of Actor-Network Theory (ANT), which contends that networks are composed of both human and non-human actors. This thesis supports ANT theorists such as Bruno Latour, Michel Callon, and John Law, emphasising that humans and nonhumans (which can include technologies, objects, institutions, and other entities) are integral actants in production networks. These actors, who interact and influence each other, contributing to the collective dynamic and outcome within the network. Despite their critical role in shaping the sensory experiences of these events, sound and light technicians are often overlooked in academic literature. Extending from the research of Battentier and Kuipiers, this research aims to illuminate the mediative role of technicians, thereby positioning them as pivotal contributors who mediate the gap between creativity and technology in cultural production, in this context, live electronic music events. For this study, a qualitative research methodology was employed, integrating ethnographic research, participant observation, and in-depth interviews. Data collection occurred over eight months, involving 120 hours of observations in six electronic music venues in the Netherlands. Primary data were found in participant observations at Club P, a nightclub in Rotterdam with a capacity of 500 people, and Festival D, a large-scale festival in Nijmegen of 10,000 people. Five in-depth interviews with technicians aged 18 to 28 provided additional insights into the routines and rituals of their work. The findings are centred around three central themes: 1. Rituals and Routines of Production Networks: Sound and light technicians operate within complex production networks that include DJs, production staff, and technologies. Their work is characterised by collective action, continuous learning, and mentorship. Moreover, technicians’ dedication to their roles is evident through their professional identities and passion, noting the demanding nature of their work. This thesis aims to shed light on their mediative impact on cultural productions. 2. Sound and Light Technology Integration: The role of the ever-evolving boundaries of sound and light technologies, such as sound equalisation tools and DMX lighting displays, is acknowledged through the lens of Actor-Network Theory. This thesis suggests that these technologies are not merely tools but active participants in the production process. The integration of advanced technologies into production networks underscores their significance and positions ANT as a framework for recognising the role of technologies in creating cultural productions. 3. Symbiosis and Co-Evolution of Networks: The relationship between human and technological actors in live electronic music events is symbiotic and dynamic. Technicians and technologies mutually influence each other, leading to continuous co-evolution. This interdependence emphasises the need for a broader lens to production studies that acknowledges the inherent agency of non-human actors. In conclusion, this study contributes to a deeper understanding of the production of live electronic music events, highlighting the significant role of sound and light technicians. It posits Actor-Network Theory to explain their contributions and suggests that future research should continue to explore the dynamic interactions between humans and technology in cultural productions.