{"id":8,"date":"2015-09-07T14:01:33","date_gmt":"2015-09-07T14:01:33","guid":{"rendered":"http:\/\/jeremywademorris.com\/?page_id=8"},"modified":"2021-06-28T15:54:33","modified_gmt":"2021-06-28T15:54:33","slug":"writing","status":"publish","type":"page","link":"https:\/\/jeremywademorris.com\/?page_id=8","title":{"rendered":"Writing"},"content":{"rendered":"

Books:<\/b><\/span><\/p>\n

(2015)\u00a0Selling Digital Music, Formatting Culture<\/i><\/span><\/a>. Berkley, CA: University of California Press.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Edited Collections:<\/b><\/span><\/p>\n

(2018), with Sarah Murray, Appified: Culture in the Age of Apps<\/i><\/a>. Ann Arbor, MI: University of Michigan Press.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Journals and Chapters:<\/b><\/span><\/p>\n

(2021). “Engineering culture: logics of optimization in music, games, and apps<\/a>“. Review of Communication.\u00a0<\/em>21(2): 161-175. Co-authored with Robert Prey and David Nieborg.<\/p>\n

(2018). “Hearing the Past: The Sonic Web from MIDI to Music Streaming<\/span><\/a>” in The SAGE Handbook of Web History<\/i>. Niels Brugger and Ian Milligan (eds.). Thousand Oaks, CA: Sage Publications. 491-504.<\/span><\/p>\n

(2018). “Introduction<\/span><\/a>” in Appified: Culture in the Age of Apps<\/i>. Jeremy Wade Morris and Sarah Murray, eds. Ann Arbor: University of Michigan Press. 1-19.<\/span><\/p>\n

(2018). “Is it Tuesday: Novelty Apps and Digital Solutionism<\/span><\/a>” in Appified: Culture in the Age of Apps<\/i>. Jeremy Wade Morris and Sarah Murray, eds. Ann Arbor: University of Michigan Press. 91-101<\/span><\/p>\n

(2018). “Platform Fandom<\/span><\/a>” in The Routledge Companion to Media Fandom<\/i>. Melissa Click and Suzanne Scott (eds.). New York: Routledge. 356-364.<\/span><\/p>\n

(2016). “App Music<\/span><\/a>” in The Oxford Handbook of Music and Virtuality<\/i>. Sheila Whiteley and Shara Rambarran (eds.). New York: Oxford University Press. 477-494.<\/span><\/p>\n

(2015) “Control, Curation and Musical Experience in Streaming Music Services.<\/span><\/a>”\u00a0Creative Industries Journal.<\/i>\u00a08(2): 106-122. Co-authored with Devon Powers<\/span><\/p>\n

(2015)\u00a0“Podcasting and its Apps: Software, Sound and the Interfaces of Digital Audio.<\/span><\/a>”\u00a0Journal of Radio and Audio Media.\u00a022(2): 220-230.\u00a0<\/i>Co-authored with Eleanor Patterson<\/span><\/p>\n

(2015) There\u2019s a History for That: Apps and Mundane Software as Commodity<\/span><\/a>.\u00a0Fiberculture<\/i>. 25(1): 62-87. Co-authored with Evan Elkins<\/span><\/p>\n

(2015) \u201cAnti-Market Research: Piracy, New Media Metrics and Commodity Communities<\/span><\/a>\u201d.\u00a0Popular Communication: The International Journal of Media and Culture<\/i>. 13(1): 32-44<\/span><\/p>\n

(2015) “Curation by Code: Infomediaries and the Data-Mining of Taste<\/span><\/a>“.\u00a0European Journal of Cultural Studies<\/i>. 18(4-5): 446-463.<\/span><\/p>\n

(2014) \u201cNon-Practical Entities: Patents and the Digitization of Culture<\/span><\/a>\u201d\u00a0Critical Studies in Media Communication<\/i>. 31(3): 212-229<\/span><\/p>\n

(2012)\u00a0\u201c\u2018The Person Behind the Music We Adore\u2019: Artists, Profiles, and the Circulation of Music\u201d<\/span><\/a>.\u00a0Wi: Journal of Mobile Media<\/i>. 7(1).<\/span><\/p>\n

(2012)\u00a0\u201cHear Here: Location-Based Music Commodities\u201d<\/span><\/a>.\u00a0Journal of Popular Music Studies Online<\/i>. Sounds of the City Issue. Oct. 15, 2012.<\/span><\/p>\n

(2012) \u201cMaking Music Behave: Metadata and the Digital Music Commodity.<\/span><\/a>\u201d\u00a0New Media and Society<\/i>.<\/span><\/p>\n

(2011)\u00a0\u201cSounds in the Cloud: Cloud Computing and the Digital Music\u00a0Commodity\u201d<\/span><\/a>\u00a0First Monday<\/i>. 16(5).<\/span><\/p>\n

(2008)\u00a0\u201cThe Politics of\u00a0Podcasting.\u201d<\/span><\/a>\u00a0Fiberculture<\/i>. 13(1). Co-authored with Jonathan Sterne, Michael\u00a0Baker and Ariana Moscote-Freire.<\/span><\/p>\n

(2008) \u201cDelegating the Live: Musicians, Machines, and the Loops they\u00a0Create\u201d in\u00a0Sonic Mediations: Body, Sound, Technology<\/i><\/span><\/a>. Carolyn Birdsall and\u00a0Anthony Enns (eds.). Newcastle: Cambridge Scholars: 77-92.<\/span><\/p>\n

(2007) \u201cRepeating the Live: Repetition and the Line 6 Digital Delay\u00a0Pedal.\u201d\u00a0Avenue<\/i>\u00a01(1).<\/span><\/p>\n

(2005, March). \u201cDevelopments in music technology: Hybrid activity in popular music.\u201d\u00a0Intersections Conference Journal<\/i>\u00a01(1), 91-101.<\/span><\/p>\n

PhD Dissertation<\/b>
\nMorris, Jeremy Wade (2010). Understanding the Digital Music Commodity. (McGill\u00a0University, 2010)<\/span><\/p>\n

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Books: (2015)\u00a0Selling Digital Music, Formatting Culture. Berkley, CA: University of California Press. \u00a0 Edited Collections: (2018), with Sarah Murray, Appified: Culture in the Age of Apps. Ann Arbor, MI: University of Michigan Press. \u00a0 Journals and Chapters: (2021). “Engineering culture: logics of optimization in music, games, and apps“. Review of Communication.\u00a021(2): 161-175. Co-authored with Robert
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