Paul du Gay is a Senior Lecturer in Sociology at The Open University

Introduction to the Second Edition
Introduction to the First Edition
1. MAKING SENSE OF THE WALKMAN
Introduction
What is Culture?
Back to the Future: Materiality and Culture
Meanings and Practices
Meaning by Association: Semantic Networks
Back to the Future: Meanings and Associations
Signifying Practices
Contemporary Soundscapes
Back to the Future: Produsage: The Changing Relationship Between Production and Consumption?
Culture in the Age of Electronic Reproduction
Back to the Future - Benjamin v/2.0
Back to the future: Mobile Privatization?
Walk-men and Walk-women: Subjects and Identities
Back to the Future: Advertizing and Branding
Summary
2. THE PRODUCTION OF THE SONY WALKMAN
Introduction: The Many Origins of an Idea
Cultures of Production, Contexts of Innovation
Heroic Individuals
Back to the Future: Technological Innovation, Heroic Individuals and Distributed Agency
Sony, Japan and the United States
Sony: Signifying Japan?
Happy Accidents at Work: Enter the Walkman
Making the Walkman to Sell: Connecting Production and Consumption
Assembling for the Young Consumer: The Mothers of the Invention
Naming the Machine: Sony Grammar
Marketing and Public Relations
Back to the Future: Promotional Culture
Monitoring Consumption and Market Research
Back to the Future: Produsage Revisited
3. DESIGNING THE WALKMAN: ARTICULATING PRODUCTION AND CONSUMPTION
Designers as Cultural Intermediaries
The Organization of Design at Sony
Lifestyling the Walkman
Back to the Future: The Power of Software: Culture Made Malleable?
The Walkman: How Japanese Is It?
4. SONY AS A GLOBAL FIRM
Following the Walkman: Competition and Financial Crisis
Sony Goes Global and Local
Back to the Future: The Global-Local Nexus
Combining Hardware and Software: The Culture Industry
Back to the Future: Synergies and Cultural Industries
5. CONSUMING THE WALKMAN
Introduction
Perspectives on Consumption
Back to the Future: Perspectives on Consumption
Back to the Future: Authenticity
The Production of Consumption
The Walkman and the Production of Consumption Critique
Back to the Future: "Revolutionary" Technologies?
Back to the Future: Optimism and Pessimism in Relation to Web 2.0
Back to the Future: No sense of Place?
Consumption as Socio-cultural Differentiation
Walkman Consumption and Social Differentiation
Consumption as Appropriation and Resistance
6. REGULATING THE WALKMAN
The Walkman and Questions of Cultural Regulation
The Walkman: The Public and the Private
Walkman Use and the Blurring of Boundaries
Back to the Future: Cultural Regulation of Modern Technologies
Summary of Chapters 5 and 6
Selected Readings
Reading A: Bruno Latour: Technology is society made durable
Reading B: Axel Bruns: Produsage: Towards a Broader Framework for User-Led Content Creation
Reading C: Walter Benjamin: The work of art in the age of mechanical reproduction
Reading D: Raymond Williams: Mobile privatization
Reading E: Ana Andjelic: Time to rewrite the brand playbook for the digital
Reading F: Nick Lyons: Scratching a global dream
Reading G: Shu Ueyama: The selling of the "Walkman"
Reading H: Thomas A. Harvey: How Sony Corporation became first with kids
Reading I: Lev Manovich: There is Only software
Reading J: Jonathan Zittrain: The Personal Computer Is Dead
Reading K: Rey Chow: Listening otherwise, music miniaturized: a different type of question about revolution
Reading L: Lev Grossman: Irans protests: Twitter, the Medium of the Movement
Reading M: Tim OReilly: What Is Web 2.0
Reading N: Mirko Tobias Schäfer: Bastard Culture! How User Participation Transforms Cultural Production
Reading O: Lain Chambers: A miniature history of the Walkman
Reading P: Vincent Jackson: Menace II society