Dominik Maksymilian Bartmanski[1] (born 1978) is a cultural sociologist and social theorist at Technische Universität Berlin. He is known for his work on consumption and material culture as well as icons and nostalgia which are all themes of his book with Ian Woodward, Vinyl: The Analogue Record in the Digital Age (2015).
Dominik Bartmanski | |
|---|---|
| Born | Dominik Maksymilian Bartmanski 27 November 1978 |
| Academic background | |
| Alma mater | |
| Thesis | How Icons Work[1] (2011) |
| Academic work | |
| Discipline | Sociology |
| Sub-discipline | Cultural sociology |
| Institutions | Technische Universität Berlin |
| Main interests | Material culture |
| Notable works | Vinyl: The Analogue Record in the Digital Age (2015) |
Early life and education
editDominik Bartmanski was born on 27 November 1978.[2] He received his Master of Arts degree in sociology and European studies from the University of Exeter in 2005 and his Master of Philosophy degree in sociology from Yale University in 2007. In 2011 he received his Doctor of Philosophy degree with distinction in sociology from Yale University.[3]
Career
editBartmanski's first academic position was as a Lecturer in the Department of Sociology, TU Darmstadt from 2012. From 2012 to 2015 he was a European Social Fund Postdoctoral Fellow at Masaryk University and for 2014 to 2015 a Visiting Lecturer at Bard College Berlin. Since 2015 he has been a Research Associate in the Sociology Department at DFG-Projekt, TU Berlin.[3] His research relates to material culture, urban sociology, and the sociology of consumption, knowledge, and music.[3]
His book with Ian Woodward, Vinyl: The Analogue Record in the Digital Age (2015), received positive reviews for its treatment of the resurgence of the vinyl record as a recording medium from the point of view of material culture and the sociology of consumption.[4][5] Nabeel Zuberi in the journal of the International Association for the Study of Popular Music praised the authors for the throughness of their research, saying "Vinyl is a vital work to spin, mix and play off more textualist feminist scholarship and critical race studies on phonographic culture" but felt that the authors could have given more attention to the economic aspects of the vinyl resurgence and noted that most of the interviewees were white European men.[6] Likewise, Paul Winters' review in Popular Music and Society found the book's greatest weakness to be its "focus on urban, independent, and electronic users", a focus that necessarily leaves much of "the story of the vinyl revival untold".[7] Anne-Kathrin Hoklas in Information, Communication & Society notes Bartmanski and Woodward's argument that the vinyl revival is not purely nostalgic and that it has occurred not despite digitization but partly because of it. She praised the book for "providing a refreshing perspective on contemporary vinyl culture informed by cultural sociology and material culture studies".[8] Robin Bartram in Qualitative Sociology praised the authors for the "meticulous detail" with which they investigated their subject.[9] Writing in the Association for Recorded Sound Collections annual journal, Edward Komara commended the authors for being "sturdy academics who know exactly when to leave the discussion of the musical aspects to the musicologists".[10]
The book's discussion of the physical manifestations of recorded media relates to Bartmanski's work on icons about which he had co-edited and authored a book in 2012 titled Iconic Power: Materiality and Meaning in Social Life[11] and his work on the nostalgic power of the physical symbols of superseded forms such as the vinyl record or the former communist regimes of eastern Europe as evidenced in the streetscapes of Berlin and Warsaw.[12]
His book Labels: Making Independent Music with Ian Woodward is set to be published by Bloomsbury Academic in 2019.[13]
Selected publications
edit- Iconic Power: Materiality and Meaning in Social Life. Palgrave Macmillan, 2012. (Co-editor)
- "Being and Knowledge: On Some Liabilities of Reed's Interpretivism". Czech Sociological Review No. 3: 499-511. (With W. Binder)
- "Refashioning Sociological Imagination: Linguality, Visuality and the Iconic Turn in Cultural Sociology". Chinese Journal of Sociology 1(1): 136-161.
- "The Vinyl. The Analogue Medium in the Age of Digital Reproduction". Journal of Consumer Culture 15(1): 3-27 (online 2013). (With I. Woodward)
- Vinyl: The Analogue Record in the Digital Age. Bloomsbury, London, 2014. (With Ian Woodward)
- "Modes of Seeing: Analysis Interpretation and Criticism after the Iconic Turn in Social Sciences". Sociologica No. 1/2015.
References
edit- ^ a b Bartmanski, Dominik Maksymilian (2011). How Icons Work: Material Culture in Post-Communist Transformation in Berlin and Warsaw, 1989–2009 (PhD thesis). New Haven, Connecticut: Yale University. OCLC 778631215.
- ^ Date information sourced from Library of Congress Authorities data, via corresponding WorldCat Identities linked authority file (LAF).
- ^ a b c "Ph.D. Dominik Bartmanski". Berlin: Technische Universität Berlin. Retrieved 5 November 2018.
- ^ Rietveld, Hillegonda C. (19 February 2015). "Physical Music Turns the Tables". Times Higher Education. No. 2191. London: TES Global. ISSN 0049-3929. Retrieved 5 November 2018.
- ^ Straw, Will (2018). "Review of Vinyl: The Analogue Record in the Digital Age, by Dominik Bartmanski and Ian Woodward". Journal of the Royal Anthropological Institute. 24 (2): 410–411. doi:10.1111/1467-9655.12841. ISSN 1467-9655.
- ^ Zuberi, Nabeel (2016). "Review of Vinyl: The Analogue Record in the Digital Age, by Dominik Bartmanski and Ian Woodward". IASPM Journal. 6 (1): 150–153. doi:10.5429/2079-3871(2016)v6i1.11en. ISSN 2079-3871.
- ^ Winters, Paul (2017). "Vinyl: The Analog Record in the Digital Age". Popular Music and Society. 40 (2): 244–246. doi:10.1080/03007766.2017.1289724. S2CID 193711227.
- ^ Hoklas, Anne-Kathrin (2016). "Review of Vinyl: The Analogue Record in the Digital Age, by Dominik Bartmanski and Ian Woodward". Information, Communication & Society. 19 (12): 1781–1783. doi:10.1080/1369118X.2015.1093013. ISSN 1468-4462. S2CID 147027909.
- ^ Bartram, Robin (2015). "Material Evidence and Evidentiary Reasoning". Qualitative Sociology. 38 (3): 349–352. doi:10.1007/s11133-015-9311-6. ISSN 1573-7837. S2CID 142423517.
- ^ Komara, Edward (2015). "Vinyl: The Analogue Record in the Digital Age". ASRC Journal. 46: 337–340. ProQuest 1733898956.
- ^ Lemert, Charles (2014). "Object Lessons". Contemporary Sociology. 43 (6): 812–816. doi:10.1177/0094306114553216. ISSN 1939-8638. JSTOR 43185671. S2CID 220838340.
- ^ Kobyshcha, Varvara (2011). "Review of 'Successful Icons of Failed Time: Rethinking Post-Communist Nostalgia', by Dominik Bartmanski". Russian Sociological Review (in Russian). 10 (3): 71–78. ISSN 1728-1938. Retrieved 5 November 2018.
- ^ "Labels: Making Independent Music". New York: Bloomsbury. Retrieved 5 November 2018.
Further reading
edit- Bartmanski, Dominik (16 February 2016). "Inside the World's Biggest Record Collection: An Interview with Zero Freitas". The Vinyl Factory. Translated by Riegel, Viviane. London. Retrieved 5 November 2018.
External links
edit- Dominik Bartmanski at Academia.edu