Music as Somatic Healing by erikachoe

ERIKA CHOE, GIANCARLO CIPRI, LIAM MONAGHAN, NIHAARIKA AORA

PREFACE

SYSTEMS, SCALE & CONSEQUENCE Considering the effect of social distancing measures on communal experiences of live music during the pandemic, we saw significance in both the loss of physical, embodied connection and the opportunities presented in adaptations people made through various technological means. In this book, we identified strategic opportunities to link this disruption to adjacent concerns about music ‘dematerialization’, the environmental footprint of streaming music and forms of music ownership for musicians and consumers.

A NOTE FROM KAKEE SCOTT For the 2021 edition of the ‘Systems, Scale and Consequence’ course, SVA’s Products of Design students have developed four group projects on a theme of ‘somatic recovery’ with the goal to design for embodied experiences that can help people thrive through and beyond the pandemic. Using a design research and development approach integrated with systems thinking at each stage of the process, students have used project work to assess strategic possibilities related to their topics and conceive of design interventions to manifest these possibilities. These final reports convey their learning and design approaches.

FRAMING THE TOPIC OF SOMATIC RECOVERY While the pandemic ebbs and resurges in North America, many are asking open questions about what comes next for communities, cultures, infrastructures, lifestyles, workstyles and economies. People around the world are continually re-inventing, re-discovering and re-normalizing bodily practices through socio-material worlds that have been repurposed and re-organized around a virus. Moving through time and space means shifting between modes of protection, where human connection is mediated by face masks, physical distance and digital screens, and modes of re-mobilization, where human bodies can move again at greater speed and distance across land and with closer contact with each other. Technological systems, social systems, family systems and nervous systems are being recalibrated on an ongoing basis to incorporate changing interpersonal positionings around risk, care, trauma, trust and fear. Persistent patterns of inequality, division and exploitation often amplify and become aggravated by these emergent dynamics.

SCHOOL OF VISUAL ARTS

PROJECT REPORT What possibilities and risks arise for designers to reassess the many ways people are enacting their values and interacting with each other in this era of physiological, emotional, cultural, economic and ecological recovery? What opportunities arise from fields of somatic practice that support therapeutic approaches to individual and collective trauma and practices of care for coping with changing conditions? How can the disruption and learning from this period inform how people imagine and create new worlds through design?

Establishing their topics with initial background research, students outlined research objectives and parameters. This included stating systemic goals or wicked problems they are looking to address, formulating opening questions, delineating boundaries for their topics, identifying relevant stakeholders and looking for similar initiatives or examples that could serve as precedents. While learning about a range of approaches for integrating systemic thinking and strategies into design, students applied elements of a few specific approaches in their projects, including the multi-level perspective, theories of practice, leverage points, and backcasting. Students applied these approaches within an integrated design research and concept development process.

THE ‘MULTI-LEVEL PERSPECTIVE’ MODEL (‘MLP’ FOR SHORT) HAS BEEN A PRIMARY TOOL ALONG EVERY STAGE OF THE PROCESS.

It has provided a consistent basis for students to identify, discuss and imagine complex dynamics broadly relevant to their topics. Developed by researchers studying ‘socio-technical systems’, the MLP is a conceptual model for tracking large scale transitions over time as a function of how technologies arise from and contribute to changing societal conditions.1 The MLP has recently become a popular tool for forms of systems-oriented design, particularly efforts in ‘design for sustainability’ and ‘transition design’.2 Using the MLP as a framework for design helps map a wide range of system variables spanning multiple stages of development across time and three conceptual ‘levels’ of socio-technical activity, namely ‘regime’, ‘landscape’ and ‘niche’. As students conducted research on their topics through literature reviews, observations and interviews, they used this structure and logic of the MLP to develop and maintain context maps on their topics, explore a number of dynamics occurring at multiple levels and speculate on the problems and opportunities these dynamics might pose. In the MLP, ‘regimes’ are the focal concern and the ‘meso’ level of the model– the mainstream or predominant activities at play in a given arena that demonstrate a strong sense of sustained organization of a system. Students identified regime actors and organizations, businesses, consumers, products, lifestyles, cultural factors, rules, regulations, values, standards, and main trends in sectors near to their topic as well identifying other relevant sectors and practices – such as styles of working, housing, relationships, or purchasing. For the ‘landscape’ (macro) level, students looked for broad issues beyond the focal regime that are relevant to the stability and instability of many regimes. This can include governmental and political transitions, economic and cultural paradigms, changing infrastructures, demographic shifts, global concerns and other expansive trends. For the ‘niche’ (micro) level,

students paid attention to niche businesses and technologies as well as unusual, marginal, novel, or unique practices in general—activities that fall outside the regime, including forms of social innovation. What are people doing differently, who are they, why are they doing it, and why is it interesting? Students also looked at interactions between levels in the model as emergent dynamics from which strategic possibilities can arise, including feedback loops or changes that are likely to have ripple effects. Building from the how dynamics are expressed in the MLP literature, ‘windows of opportunity’ where interactions between the three levels appear to be destabilizing regimes and ‘knock-on effects’ where niche practices might set the stage for landscape changes.3 Students used models of social practice4 to help identify how the changes occurring in these broad accounts manifest within the everyday lives of specific actors. Beyond the niche level, practices can be seen as a basis for all activity represented in the MLP. This connection to practices helps translate the complex dynamics highlighted in the MLP into human stories that can mobilize design concepts. In a strategic alignment process, students applied a leverage points assessment exercise and a back-casting approach to convert research insights into strategic intentions to guide concept development. The leverage points exercise built from Donella Meadows’ classic list to identify, characterize and select from a range of ‘places to intervene’ in systems5, supplemented with strategic orientations informed by the MLP and theories of practice. Using a backcasting6 approach, students developed a future vision for their topic, imagining bold and desirable conditions ten years ahead rather than working only on projections from current conditions, and a road map in which they imagined changes toward this vision unfolding at several stages over time. With the MLP and social practices approaches, students elaborated on this vision and roadmap to identify broad systemic shifts and imagine how standards of practice might change. After arranging road maps, students shifted toward concept development using an approach of narrative prototyping. Building from their learning during research, students developed imagined characters, based on the design method of ‘personas’, as synthetic representatives of real actors in the systems they had researched. Following along with their road

maps, they devised sets of storyboards at each stage of development imagining circumstances in which changes across the system manifest in the lives of specific people and how design interventions could respond to and contribute to these changes.7 As a sort of future user research, using these narratives prompts forms of speculative empathy to help design teams work through how systemic change can be addressed within even small interventions in everyday life. Students used the narrative to develop design concepts as speculative interventions or worked out the details and viability of design concepts they had conceived before or during their research process. In addition to conceiving interventions within future conditions, each group devised and prototyped a present-day ‘critical’ intervention, necessarily small in scope, to deploy some way as a form of ‘research through design’ . As forms of critical practice in design, these critical interventions are meant provoke small changes in action or inspire reflections about future possibilities and learn from the responses these interventions create. 8

Taking cues from strategic design, these are interventions with a primary purpose for catalyzing change above more conventional design motivations for solving problems or meeting needs, as indicated in the acupuncture approach of jegou10, among others. Like the tiny point of an acupuncture needle, these interventions work with the expectation put forward in the first week of the semester in a reading by adrienne maree brown, “small is all”.9 An object, a gesture, a sound, or a word–– all are viable scales and forms for systemic approaches in design, where big change emerges through the cumulative and interactive effects of small-scale interventions in everyday life.

TABLE OF

CONTENTS Introduction

Background Context

Dematerialization

Multi-level Perspective (MLP)

Interview Insights

Objectives: Streaming Services to Fair Artist Compensation

Persona 1

Strategic Alignment: Ownership

Persona 2

Present Day Intervention

Backcasting: Vision 2031

Future Intervention

Conclusion: Somatic Futures

Endnotes

INTRODUCTION The COVID 19 pandemic that swept the globe in 2020 affected almost every facet of human life. From work, travel and entertainment to grocery shopping and family visits, the ways in which humans experience their cities and towns changed dramatically. And in many ways these changes remain. Among these changes were the ways in which humans practice somatic recovery, specifically within music.

The collective nature of music was primed for a damaging blow as bars, concert halls, nightclubs and festivals shuttered due to isolation measures implemented by governments. No longer would live music be consumed in its predictable space. Instead, despite the closure of these physical spaces, the desire for collectivism continued.

Music enthusiasts and performers took to video based streaming services such as Twitch and YouTube in order to replace that feeling of somatic collectivism that they desired.

Music has facilitated a means of collective experience throughout human history.11 The gathering of bodies together in one place, making and experiencing vibrations, has historically been the mode for collective healing. However, toward the end of the 19th Century this communal means of music consumption branched out into individualistic practices when methods of non-live music consumption emerged.12

In the roughly 150 years since, there have been two predominant methods of consuming music – collectively in live music venues and individually through recorded sound.

BOTH OF WHICH PROVIDE AN

IMPACTFUL AND REGENERATIVE SOMATIC EXPERIENCE. Individualistic consumption of music grew rapidly through the significant landscape shift of industrialization, materialization (and later dematerialization) of which enabled more personal and portable music listening.13 Collective consumption of music similarly grew with the rise of urbanization.14

Today, the collective experience of music consumption can thrive outside of our physical spaces, and within the virtual space we now regard as a new regime reality. What was previously thought as a live music experience has changed and a niche hybrid of virtual and physical spaces has emerged. Where the collective music consumption is without the physical gathering of bodies.

We examine the systemic structures that made this new somatic reality possible, and speculate the futures of where these systems might take us.

BACKGROUND

CONTEXT Throughout human history, the act of gathering and listening to music has been a common thread. From early mankind gathering in small tribes and listening to primitive instruments, to Greco-Roman amphitheaters, Churches in the Baroque Era, and Pink Floyd concerts during the hippie movement; communal music listening as a somatic practice has continued to increase in physical size and in influence.15 At the core of this growth is the trend of urbanization. As the infrastructure of Western cities, specifically those in the US, and the modes of transportation between them became more robust following the industrial revolution, the population in these urban centers grew rapidly.16 The 1880’s were the first decade in American history when urban population increased over rural population.17 This urbanization, intertwined with new modes of industrial production and circulation, affected everyday life.

These socio-technical regimes changed the experience of cities and in turn, musical entertainment. Such changes included theaters, concert halls, the growth of orchestras and the development of musical instruments and music publishing.

Today, urbanism continues to be coupled with a growth in live music. The boom we have seen in the festival movement can be seen as pop up urbanism. As well as city governments recognizing nightlife as an essential economic asset. For example, cities like New York City and Amsterdam have created governmental agencies to facilitate their respective live music industries and pledged to create affordable housing for musicians and artists.18

THE MUSIC INDUSTRY HAS BEEN COMPREHENSIVELY STUDIED AND ANALYZED THROUGH A VARIETY OF

SOCIOTECHNOLOGICAL LENSES. Attali, a French economist and scholar first introduced the argument that “music, as a cultural form, is intimately tied up in the mode of production in any given society.”19 He posits four distinct cultural stages in music’s history: Sacrificing; Representing; Repeating; Post-Repeating, of which, each of these cultural stages carries a certain set of technologies for producing, recording and publishing music, as well as cultural structures that all for the consumption of music. From Thomas Edison’s invention of the phonograph in 1877 to the second decade of the 21st century, technology has transitioned through a complex system of dematerialization and re-materialization.20

TECHNOLOGY HAS TRANSITIONED THROUGH A COMPLEX SYSTEM OF DEMATERIALIZATION AND RE-MATERIALIZATION. Through the landscape of industrialization and technological advances, vinyls developed into CDs in the 1980s, outlining a dematerialization regime that gave way to the portable consumption niche (i.e. the birth of walkmans). Within the same dematerialization regime a decade or two later, CDs quickly became MP3s which brought about a new physical consumption niche of streaming music. This made way for a new emergence of a landscape where the consumption of music moved from people and live spaces to the convergence of people and music devices & platforms.

A further emergence from the dematerialization regime reveals MP3s transitioning to cloudbased streaming methods, leading to an emerging niche of virtual music consumption through platforms like Spotify and Twitch. These technological transitions heavily influence the shifts of other industries like the environmental implications of dematerialization, and the socio-economic affordances of societies with music venues. At a cross-industry level, the analysis of the music industry through the multi-level perspective provides broad ground for looking into the somatic impact of musical dematerialization.

THE CONCEPT OF

DEMATERIALIZATION refers to a decline in the amount of material use per unit of output; such material reduction can result from technological and structural changes. Dematerialisations core concept explains eco-efficiency by-line “doing more with less”.

However, the reality of dematerialization sees several complicating factors.

When we analyze the Emerging Regime: Dematerialization — MP3s to Cloud Music streaming has a far worse carbon footprint than the materials used to manufacture records and CDs . Technological changes can alter material demand through improved platforms for user experience but does not primarily address the core concept of dematerialization.

MLP

PAST

MLP

FUTURE

MLP The multi-level perspective (MLP) is a prominent transition framework. The MLP posits that transitions come about through interaction processes within and among three analytical levels: niche, socio-technical regime, and a socio-technical landscape.21 In this case we are using the framework to gather the interacting components on the timeline of music consumption. In viewing the MLP as a timeline from left to right, various trends rise and fall throughout the layers of niche, regime and landscape. This leads to windows of opportunity for the implementation of present day and future interventions

MLP

THREE ANALYTICAL LEVELS:

NICHES, SOCIO-TECHNICAL REGIMES AND A SOCIO-TECHNICAL LANDSCAPE. From 2006 until now, streaming services, such as Spotify, have revolutionized the music industry. Despite their ability to bring music into the pockets of everyone, their reach has unfortunately impacted the environment negatively. This is due to the physical stress needed to maintain cloud-based infrastructure. The MLP showcases the rapid growth of music streaming and how it has greatly impacted complimentary portions along the timeline, such as: regulations for music ownership; stress on the climate; and the communal aspect of music. Our dematerialized advancements contrast the landscape values of climate consciousness and collectivism.

Ultimately, this served as the initial groundwork for our proposed interventions: Bit© and Vera©. Consequently, in focusing on the impact of streaming services, our research led to unfavorable conclusions regarding music ownership — for both the artist producing and consumer listening. Together, these were influential aspects that we saw probable cause for change, especially in the perspective of a consumer.

Lastly, in viewing the MLP, wearable technology emerged as a promising trend. From the advent of various smartphones and listening devices, wearable technology allows the consumer to interface with music on levels that transcend the common auditory experience. This ultimately impacted our research with the conclusions to use various bodily functions to bolster the somatic experience and healing that one has when listening to music.

INTERVIEW

INSIGHTS In the wake of COVID -19, artists and DJs had to adapt to the shutting down of bars and nightclubs as the new reality. To understand how the pandemic impacted practices of social gatherings through music, we conducted an interview with a DJ named Omen, where he described the challenges he faced during the pandemic. He was one of the first few Indian DJs who hosted live events through instagram, and at least once a week he tried to give people the feeling of the collective live music experience they had lost. Since he realized that these events were one-sided, and he couldn’t see people responding to his music, he invited people to

zoom and Twitch for virtual parties. He requested people turn on their cameras to enjoy a collective music experience. Omen was optimistic and passionate about his music and saw the shutdowns as a possible opportunity to keep trying to engage with new audiences and build up a larger social media following. Omen believed that having a collective experience for music virtually can be the new regime reality. However, during the summer of 2020 when cases around the world took a brief reprieve, the nightlife in many countries opened back up. He abandoned the virtual space of music

collectivism, as people started to flood clubs and venues. This interview helped us analyze how our versions of reality can change and impact our collective experience with music. In looking at the shift of live music from a physical space to a virtual space rather successfully, the future may hold an opportunity for a hybrid model of live music consumption to exist.

As a New York Times article shows, “the pandemic really highlighted what was essential in this city and what’s a luxury,” Ms. Palitz said. “This industry has always been seen as nice to have, but now we know it’s a need. It is absolutely part of our fabric, of our daily lives.”

“This industry has always been seen as nice to have, but now we know it’s a need. It is absolutely part of our fabric, of our daily lives.”22

For now it seems that the practice of collective music consumption in a physical setting is preferred. But the promise of experiencing live music with those who you can’t physically be with, connected many around the world, and may be an enticing prospect even without a pandemic.

OBJECTIVES

FROM STREAMING SERVICES TO FAIR ARTIST COMPENSATION The reality of dematerialization sees several complicating factors. When we analyze this regime, our research shows the intense strain that music streaming has put on the environment. When looking at the energy consumption of producing vinyl at its highest point, it pales in comparison to streaming services today.23 We have analyzed that in the advent of music streaming services the demand for physical medium’s has declined, and the music consumption industry has become less a commodity industry and more a service industry.

Yet, this trend toward less material goods has not correlated to a smaller carbon footprint.

The band Massive Attack has recently spoken to the issue of artist tours and the amount of energy used and emissions expelled from setting up shows and flying around the world. The band partnered with the Tyndall Centre for Climate Change Research, and proposed a plan to mitigate the carbon emission from the music industry.

Dr. Kyle Devine

ic, fessor in Mus Associate Pro 24 Oslo University of

Streaming services are not the only culprit of carbon emissions in the music industry. Such examples included the immediate elimination of private jet use, a switch to electric transportation for concerts and festivals, and, by 2025, phasing out diesel generators at festivals.25 However, this noble pursuit toward sustainability in the industry doesn’t address the economic need for artists to have live shows.

Inadvertently, dematerialization has not only increased carbon emissions from cloud use, but has also stripped a key revenue stream from artists.

Thus forcing them to spend more time touring which creates an equally precarious situation for the climate. In an era where streaming services provide almost no compensation to artists, there is no alternative but to take to the road. An article this year from the New York Times describes how Stars including Paul McCartney, Kate Bush and Sting, have signed a letter asking Prime Minister Boris Johnson for reforms in the streaming economy. Additionally in the US, a new advocacy group, the Union of Musicians and Allied Workers, has begun to campaign against Spotify, demanding higher payouts.26

In an era where streaming services provide almost no compensation to artists, there is no alternative but to take to the road. An article this year from the New York Times describes how Stars including Paul McCartney, Kate Bush and Sting, have signed a letter asking Prime Minister Boris Johnson for reforms in the streaming economy. Additionally in the US, a new advocacy group, the Union of Musicians and Allied Workers, has begun to campaign against Spotify, demanding higher payouts.

Dr Matt Brennan, a Reader in Popular Music from the University of Glasgow, speaks to these findings and he hopes it will lead to more sustainable consumption choices and services that remunerate music creators while mitigating environmental impact.27

DEMATERIALIZATION has not only INCREASED CARBON EMISSIONS FROM CLOUD USE, but has also

STRIPPED A KEY REVENUE STREAM FROM ARTISTS.

PERSONA 1

DIDI AGE

PLACE

SKILLS

IRELAND

POP ARTIST

GOALS Does not want her music to be uploaded on streaming services. Wants other big artists to speak up and mandate music ownership.

MOTIVATIONS Didi understands that streaming services have been beneficial in getting her work out to the public. However she recognizes that streaming royalties are only benefical to those who have amassed a large following; not emerging artists. Additionally, she recognizes that streaming services are a great technological advancement, but come with a large environmental cost. Through consumers owning the album physically and listening to it chronologically, listeners are able to experience the music as the artist intended.

FRUSTRATIONS The impact that streaming music has on artists’ compensation and music vision.

One of the world’s best selling recording artists. She has had sales of over 30 Million copies and has won artist of the year twice along with several grammy awards.

If we take a step back and analyze how music consumption has changed over the past 50 years we can understand the symbolic power that physical ownership holds.

STRATEGIC ALIGNMENT

OWNERSHIP Since the music industry has been stripped of the physicality of owning one’s music through the advent of streaming services, the sense of consumers’ psychological ownership has also been affected. The music industry has entered a post-ownership economy where users consume and share music through streaming services such as Spotify, Apple Music and Youtube. The tangibility and feeling of owning one’s music has almost completely diminished as

the regime changed from physically distributed music to cloud-based servers. If we take a step back and analyze how music consumption has changed over the past 50 years we can understand the symbolic power that physical ownership holds. The practice of collecting vinyl records and CDs is crucial to our identities and acts as a tangible depiction of one’s taste in music.28 By proposing our present day interventions we are not negating digitalization but are working with it.

“To me, a CD/tape or vinyl is more personal to own as you can actually feel it and have it in the house. Also the artwork on some of the vinyl, CDs and tapes can be quite special which gives it its own uniqueness compared to downloading or streaming music.”29

Our product Bit© is a chip offered with 3 pins (SD Card, USBC and lightning) that revives the psychological emotions of music ownership and fosters its ceremonial aspect. Our interventions reintroduce the importance of material possessions on our identities, and facilitate ownership through the tangibility of music.

How might we ignite trends of fairer compensation through reintroducing tangibility, and enhance the experience of music ownership?

How does a push toward ownership result in a better outcome for the environment?

INTERVENTION #1 AT A GLANCE – continued on pg 32

Lightning Pin

SD Card Pin

USB-C Pin

PERSONA 2

RORY AGE

PLACE

SKILLS

USA

TECH INNOVATOR

A music enthusiast who values privacy and accessibility above all else. His mission is to reduce consumption of the cloud because of its heavy load on our environment. His high tech background has allowed him to work on projects that use renewable energy resources.

GOALS Help the music industry to create change for rights of musicians and music ownership.

MOTIVATIONS Wants to reduce his carbon footprint and strives to build communities who can foster change and help impact our environment in profound ways.

FRUSTRATIONS Dislikes feeling out of control of the information that is shared through music streaming services. Has a strong connection to music and feels like streaming services do not promote musicians music as they would like the world to perceive.

Our hope for the future.

BACKCASTING FROM THE YEAR 2031

FUTURE VISION

YEAR 2031 Our hope for the future. The year is 2031 and our platforms for music consumption have shifted. Consumers are focusing on the communal and ceremonial aspects of music. Moreover, music streaming services have shrunk due to environmental laws limiting the damage that the cloud and server stations have caused to the climate. The push towards music ownership and fair artist compensation has grown exponentially and instead of a subscription model, buying music has become the norm. Additionally, a hybrid model of live and virtual music experience has emerged due to divergent priorities post-pandemic.

Research shows that our motor systems are connected with our perception of auditory rhythm which engages motor regions in the brain.30 Keleman explains the role of the vagus nerve, the longest cranial nerve running from the brain to the lower internal organs and which is responsible for regulating our parasympathetic nervous system. Located close to the ear, the vagus nerve helps us hear sound and music. The sound waves travel from our eardrums to the vagus nerve. When the vagus nerve is activated, it stimulates the PNS and tells the body to relax. The vibrations of sound engages and soothes the physical body, which in turn soothes the mind.

The Covid- 19 pandemic vividly demonstrated how important the association music has with expression and human participation in social belonging, and how that drive transcends physical barriers. The collective music experience happens in physical spaces but in a futuristic metaverse when people may not have the luxury of being together .Vera© acts as a mode for this somatic collectivism to continue in a non physical reality. How might we bolster the feeling of physical somatic collectivism in regards to music consumption in a non physical world?

Vera© augments the human connection that we feel when consuming live music in a physical setting – in a world that is completely virtual.

In recognizing the relationship between the senses and music, we have created a speculative prototype entitled Vera©. Through the implementation of this device, we encourage users to enhance their somatic healing experience when listening to music, by interfacing with the Vagus nerve. Our device uses technology similar to that of a microphone, encasing a grill and diaphragm electro-acoustic transducer to transform the sound of music into electrical energy. This energy is fed into the nervous system — through the Vagus nerve — and enhances the feelings of the listener. The device is flexible and moves with the body.

CONCLUSION

SOMATIC FUTURES The research conducted in this project is not an exhaustive view of the intricate systematic issues within music in regards to somatic practice. Nor is it meant to provide guaranteed solutions to these problems. What this book is attempting to do is portray several movements regarding music consumption, and use the multi-level perspective framework to forecast the future of those consumption methods in individualistic and collectivist listening practices.

“We offer Bit© and Vera© as proposed interventions for two futures: one that is congruent with our everyday lives; and the other that adapts to separation due to external forces like a pandemic.”

We also strive to gather information about the problems of our current music consumption methods, and hope to bring consumer and artist ownership as well as the environmental issues from our streaming economy to the forefront of public discourse. Human somatic practice within music will need to shift to accommodate this emerging niche. Our products Bit© and Vera© are proposed interventions to facilitate this shift from niche to regime. These products, in the future, hope to change the landscape of somatic practice within music to one that is equitable and sustainable for everyone.

WE HOPE TO CHANGE THE LANDSCAPE OF SOMATIC PRACTICE WITHIN MUSIC

TO ONE THAT IS EQUITABLE AND SUSTAINABLE FOR EVERYONE.

ENDNOTES 1 Frank W. Geels, “Socio-technical transitions to sustainability: a review of criticisms and elaborations of the Multi-Level Perspective,” Current Opinion in Environmental Sustainability, 39 (August 2019): 187-201. https://doi.org/10.1016/j.cosust.2019.06.009 2 Fabrizio Ceschin and İdil Gaziulusoy, Design for Sustainability, a Multi-level Framework from Products to Socio-technical Systems. (London and New York: Routledge, 2020). 3 Frank W. Geels, “The Dynamics of Transitions in Socio-technical Systems: A Multi-level Analysis of the Transition Pathway from Horse-drawn Carriages to Automobiles (1860 – 1930),” Technology Analysis & Strategic Management 17, no. 4 (2005): 445–476, https://doi.org/10.1080/09537320500357319. 4

Lucy Kimbell, “Rethinking Design Thinking: Part II,” Design and Culture 4, no. 2 (2012): 129-148.

https://doi.org/10.2752/175470812X13281948975413 5 Donella Meadows, Thinking in Systems: A Primer, (White River Junction, VT: Chelsea Green, 2008), 145-165. 6 Philip J. Vergragt and Jaco Quist, “Backcasting for sustainability: Introduction to the special issue,” Technological Forecasting and Social Change 78, no 5 (2011) 747-755. https://doi.org/10.1016/j.techfore.2011.03.010. 7 Christopher Frayling, “Research in Art and Design,” Royal College of Art Research Papers 1, no. 1 (1993/4). 8 Daniela Sangiorgi and Kakee Scott, “Conducting Design Research in and for a Complex World,” in The Routledge Companion to Design Research, eds. Paul Rodgers and Joyce Yee (London: Taylor & Francis Group, 2015): 114-131. 9 adrienne maree brown, Emergent Strategy: Shaping Change, Changing Worlds. (Chico CA: AK Press, 2017), 41. 10 Jégou, François. “Social innovations and regional acupuncture towards sustainability: Strategic Design Scenarios” Zhuangshi (2010). Accessed December 1, 2013, https://www.strategicdesignscenarios.net/downloads/Publications/China%20paper%20R.pdf. 11 Smithsonian, Human Evolution, Art & Music : https://humanorigins.si.edu/evidence/behavior/ art-music

12 Matt Brennan/Kyle Devine, The Conversation: Music streaming has a far worse carbon footprint than the heyday of records and CDs – new findings (https://theconversation.com/music-streaming-has-a-farworse-carbon-footprint-than-the-heyday-of-records-and-cds-new-findings-114944)

YOTAM DOV https://weraveyou.com/2017/08/vinyl-streaming-evolution-music-consumption/

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