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Anonymity practices in electronic music culture have long been the object of journalistic and academic discourse. Yet anonymity itself is ephemeral and ontologically precarious. How can scholars research anonymous entities without impairing their anonymity, and what can they learn from their precarity?
This study describes two projects of anonymity performance as forms of critical practice (Judith Butler/Michel Foucault) involving performative play with anonymity through the use of fake identities or collaborative persona imaginations. Adopting a reflexive and performative writing style, this performance ethnography calls for a radical performative turn and an ontological reflexivity in the cultural studies of music.
Frontmatter 1
Contents 5
Acknowledgments 7
1. Laboratory Case I: Moodymann and the study of pop music persona construction 59
2. Performance in music (studies) 111
3. Laboratory Case II: Ursula Bogner and performance research 151
Conclusion: Towards a reconceptualisation of ethnographic practice as collaborative imagination 199
Appendix 207