The point of this posting is to elaborate on some things mentioned yesterday in regards to my research methods. I believe I stressed the importance of capturing the why, and I didn't want to sound as if I was discounting the when and where.
The study of form is the logical beginning for a study of this sort of thing. In fact, I would argue that it is essential to understand exactly what I'm documenting for a few reasons–it's just that the way in which I go about documenting and following up on leads may have to be altered. First, there's the notion that by examining specific pieces I'll be able to discern some sort of structure imbedded throughout the form of these covers. If such undeniable forms or laws run continuously through the form of handmade covers, the question of why such structures exist is raised. This is to say that a critical look at the when and where could begin to answer the why.
Allow me to give an example. Say for instance one were to come across many cassette covers that were rubber stamped and dated back to the early 80s. One would say that the form of handmade covers involved the cassette format and that they were rubber stamped. After months of searching through used bins at records stores, you started noticing something else: rubber stamped 7" 45s from the mid 80s and early 90s, even some from the past few years. This is a major change in form, much more significant than small variations within the content of the stamp. By rigorously collecting data, (and this is quite an exaggerated example, keep in mind) one was able to understand that there existed the form of the cassette in the first place, and informed through dating processes, one was able to surmise that the 7" took its place as the primary form of expression. One can only begin to form good hypotheses when one can form good questions: Why did the 7" essentially "take over" the cassette?
I hope I've shown how important collecting data is in this process, however elementary I may make it out to be. Part of the assessment I wrote about the other day asked if I was collecting the right data on form. Usually I simply take a lot of photographs in record stores, (and make sure I take down dates if they are present) but as of late I've been trying to make sense of the information beyond that, like artists, if listed, record label, and place of origin. Getting in touch with those who produce these things is the follow up that I'm beginning to work on. I also think some sort of mapping exercise is in order, just to see what happens with the data! Maybe I'll come across something of interest. Maybe not…
Tonight: more on the form of the 7"!
-James
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Dear James,
After reading your posts on methodology, a few questions and things to consider came to mind. Phil's "Attention is the New Currency" idea and your question "Why make handmade record covers?" both point the question of who is buying the records and why? From a utilitarian point-of-view handmade covers are not an efficient or cost-effective way to distribute a piece of music.
In one of the postings, Phil points to the sense of community created by the covers and the social-utility of the handmade record cover. It seems like the "attention" paid to the handmade cover gives it a gift-like quality that separates it from the mass-printed covers. This made me wonder whether or not this type of production changes the relationship between the producer and consumer, if so, how? If it exists merely to fill in a unique niche in the music market? And, what does buying a handmade record say about the consumer?
These types of questions do not have a definitive answer but it would interesting to see how producers and, especially, consumers answer them. It might be a good idea to put together a list of questions for both groups, obviously there will be some overlap, and spend more time at the record stores and labels that are focused on this audience.
Hopefully, these thoughts will be helpful. Give me a call soon to talk a little more about it. I have a few other thoughts but I would rather share them via telephone.
All the Best,
Sean
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