Search for a surname in the box below and then click "Search" to search for Staff.
Harkins, P. (2018, December). Can Music be Digitised? Samplers, Democratisation, and 'the Digital Age'. Paper presented at Music, Digitalisation, and Democracy
Rather than an abrupt or revolutionary shift from analogue to digital, I will argue in this paper that the use of digital technologies such as samplers have been part of a mor...
Harkins, P. (2018, September). Was the Sampler a Revolution? Continuity and Change in the Design and Use of Synthesizer/Sampling Technologies. Paper presented at The Sound of the Anthropocene: Materialities Seminar
No abstract available.
Harkins, P. (2018, September). Following the Distributors: Syco Systems and the Selling of Musical Instruments. Paper presented at Art of Record Production (ARP)/International Association for the Study of Popular Music (IASPM) UK & Ireland Branch Conference
Since the 1980s and 1990s, scholars in Science and Technology Studies (STS) and, more specifically, those adopting the Social Construction of Technology (SCOT) approach have b...
University of London
This event is a rare opportunity to find out more about a musical instrument that was worth £100,000 in the 1980s when it was used in the making of records by Afrika Bambaataa, Kate Bush, and Frankie ...
Harkins, P. (2018, June). Becoming a User? Science & Technology Studies (STS) and the Design/Use of Digital Synthesizer/Sampling Instruments. Presented at Workshop on Objects of Electronic Sound & Music in Museums
This provocation will give an overview of a research project about the historical and contemporary uses of digital synthesizer/sampling instruments. One of the problems I face...
Harkins, P. (2017, June). Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music, Kassel, Germany
The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the...
Harkins, P. (2017, June). Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh
This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designe...
Harkins, P. (2017, March). 'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon
The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, base...
Harkins, P. (2016, December). Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg
This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain import...
Harkins, P. (2015, June). The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium
The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropri...
Harkins, P. (2014, December). Following the Instruments, Designers, and Users: A Conceptual Framework for the Study of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Oslo
Harkins, P. (2014, September). The Sounds of Everyday Life (and Death): Digital Sampling, House Musique Concrete, and Field Recordings. Paper presented at IASPM UK and Ireland Conference, University College Cork
Harkins, P. (2014, April). Replies to the Critics: The Grounded Theories of Simon Frith. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, The University of Edinburgh
Harkins, P. (2012, September). King Creosote’s Foot Pedal: The Fence Collective and the New Folk Sound of Fife. Paper presented at (IASPM) UK and Ireland conference, University of Salford, Manchester
Harkins, P. & Brøvig-Hanssen, R. (2010, December). The Strange Delights of ‘The Whipped Cream Mixes’: The Aesthetics, Humour and Tradition of Mash-ups. Paper presented at Art of Record Production (ARP), Leeds Metropolitan University
Harkins, P. (2010, June). Appropriation, Additive & Accident: A Case Study of Digital Sampling and Recording Dislocation. Paper presented at ANR Research Workshop, Universite Paris 1