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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.
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Bartmanski'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
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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
267:(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. Nabeel Zuberi in the journal of the
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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". Anne-Kathrin Hoklas in
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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
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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".
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and his work on the nostalgic power of the physical symbols of superseded forms such as the vinyl record or the former
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praised the authors for the "meticulous detail" with which they investigated their subject. Writing in the
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342:"Refashioning Sociological Imagination: Linguality, Visuality and the Iconic Turn in Cultural Sociology".
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788:"Review of 'Successful Icons of Failed Time: Rethinking Post-Communist Nostalgia', by Dominik Bartmanski"
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364:"Modes of Seeing: Analysis Interpretation and Criticism after the Iconic Turn in Social Sciences".
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How Icons Work: Material
Culture in Post-Communist Transformation in Berlin and Warsaw, 1989–2009
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Associate in the
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as well as icons and nostalgia which are all themes of his book with Ian
Woodward,
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regimes of eastern Europe as evidenced in the streetscapes of Berlin and Warsaw.
853:"Inside the World's Biggest Record Collection: An Interview with Zero Freitas"
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with Ian
Woodward is set to be published by Bloomsbury Academic in 2019.
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Komara, Edward (2015). "Vinyl: The
Analogue Record in the Digital Age".
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Bartram, Robin (2015). "Material Evidence and Evidentiary Reasoning".
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Winters, Paul (2017). "Vinyl: The Analog Record in the Digital Age".
349:"The Vinyl. The Analogue Medium in the Age of Digital Reproduction".
335:"Being and Knowledge: On Some Liabilities of Reed's Interpretivism".
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praised the authors for the throughness of their research, saying "
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Dominik Bartmanski was born on 27 November 1978. He received his
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degree with distinction in sociology from Yale University.
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International Association for the Study of Popular Music
393:(PhD thesis). New Haven, Connecticut: Yale University.
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Iconic Power: Materiality and Meaning in Social Life
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Iconic Power: Materiality and Meaning in Social Life
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361:. Bloomsbury, London, 2014. (With Ian Woodward)
498:Journal of the Royal Anthropological Institute
615:Vinyl: The Analogue Record in the Digital Age
535:Vinyl: The Analogue Record in the Digital Age
494:Vinyl: The Analogue Record in the Digital Age
359:Vinyl: The Analogue Record in the Digital Age
355:15(1): 3-27 (online 2013). (With I. Woodward)
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156:Vinyl: The Analogue Record in the Digital Age
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456:Rietveld, Hillegonda C. (19 February 2015).
617:, by Dominik Bartmanski and Ian Woodward".
496:, by Dominik Bartmanski and Ian Woodward".
299:Association for Recorded Sound Collections
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537:, by Dominik Bartmanski and Ian Woodward"
851:Bartmanski, Dominik (16 February 2016).
619:Information, Communication & Society
613:Hoklas, Anne-Kathrin (2016). "Review of
389:Bartmanski, Dominik Maksymilian (2011).
286:Information, Communication & Society
27:Cultural sociologist and social theorist
859:. Translated by Riegel, Viviane. London
437:. Berlin: Technische Universität Berlin
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332:. Palgrave Macmillan, 2012. (Co-editor)
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466:. No. 2191. London: TES Global.
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290:culture studies". Robin Bartram in
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825:"Labels: Making Independent Music"
276:Likewise, Paul Winters' review in
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459:"Physical Music Turns the Tables"
227:in 2007. In 2011 he received his
554:10.5429/2079-3871(2016)v6i1.11en
339:No. 3: 499-511. (With W. Binder)
318:Labels: Making Independent Music
492:Straw, Will (2018). "Review of
183:. He is known for his work on
169:Dominik Maksymilian Bartmanski
44:Dominik Maksymilian Bartmanski
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631:10.1080/1369118X.2015.1093013
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181:Technische Universität Berlin
136:Technische Universität Berlin
344:Chinese Journal of Sociology
263:His book with Ian Woodward,
792:Russian Sociological Review
786:Kobyshcha, Varvara (2011).
417:linked authority file (LAF)
352:Journal of Consumer Culture
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735:(2014). "Object Lessons".
435:"Ph.D. Dominik Bartmanski"
674:10.1007/s11133-015-9311-6
579:Popular Music and Society
337:Czech Sociological Review
279:Popular Music and Society
223:degree in sociology from
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248:, and the sociology of
827:. New York: Bloomsbury
737:Contemporary Sociology
464:Times Higher Education
662:Qualitative Sociology
324:Selected publications
293:Qualitative Sociology
908:Bard College faculty
229:Doctor of Philosophy
221:Master of Philosophy
217:University of Exeter
173:cultural sociologist
80:University of Exeter
913:German sociologists
66:Academic background
880:Dominik Bartmanski
126:Cultural sociology
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857:The Vinyl Factory
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366:Sociologica
250:consumption
185:consumption
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195:(2015).
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761:JSTOR
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596:S2CID
273:Vinyl
258:music
865:2018
833:2018
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