Author: christhompson42

Beatmakers in Japan – On reflection


As I’ve looked back on my project, I’ve realised that I’ve made some incorrect conclusions and that I should to a degree, be looking in different areas. The most important change to note is that I’ve shifted my focus from beatmakers/ producers in Asia to specifically Japan. The main reason I’m doing this is because I realised that every single Asian producer I was focusing on was Japanese, this swap is really important as it wouldn’t be a proper autoethnographic account of Asian producers if they are all Japanese. Focusing on Japan also opens up a heap of new opportunities for me in that I can do a much more thorough autoethnographic account and also research cultural characteristics specific to Japan.

Japan has a rich and complex culture, it’s longstanding and ingrained cultural practices have come to heads with a range of radical influences such as war and globalisation. In…

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DIGC 330 Project Scope – Beatmakers in Asia


For my project I will be profiling several Asian, ‘Hip Hop’ beatmakers including Nujabes, Uyama Hiroto, Shing02 and DJ Okawari. The aim of these profiles is to create an overall picture of the Asian beatmaking landscape and the unique characteristics of both the individual producers and as a group that differentiate them from popular/ American hip hop producers.

I will do this in a series of blog posts (one for each artist) and included in this will be…

  • A brief profile of the artist
  • Links and overviews of their popular songs
  • An auto-ethnographic account of my experiences with their music
  • A brief write-up of what I think makes that artist unique as a producer

As this process is largely subjective I am very aware of making the posts too personal and just ‘telling a nice story’ (Allen, 2006). To avoid this all my work will be heavily informed by existing…

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Re-Examining my autoethnographic account of ‘State of Play’


In re-examining my auto-ethnographic post on ‘State of Play’, I’ve realised that while there were some aspects where I did well and others where I certainly did not.

On a positive note, I think I did a relatively good job of capturing my experiences in an analytical way rather than just telling a ‘nice story’ as discussed in the Ellis, et al. reading. This is something I’ve definitely had an issue with in previous writings so in re-examining my post I’m pretty happy in that regard.

There were a few issues with my post which I’ll have to be aware of in future. Firstly the Ellis et al. reading emphasized comparing personal experiences against existing research, interviewing cultural members and/ or examing relative artifacts. While I did utilise some research in my post I feel like it would definitely of been strengthened by further research. Secondly, I made some assumptions…

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State of eSports


‘State of Play’ provided a startling insight into what I believe will be the future of sports/ entertainment. While I have been reasonably aware of the presence of eSports growing in the background, seeing how real and strong it was in South Korea was definitely an eye opening experience for me.

It was incredible to see the depth to which the sport had evolved on a societal level, stadiums full of people, range of merchandise, teary fans (and players) and an emphasis on superstar/ celebrity top players which seemed to surpass many comparable sports in the western world. In retrospect, I shouldn’t have been so surprised at how developed Starcraft is as a part of their society and I guess it’s to an extent it’s a bit naive of me to think that Western culture is spearheading and challenging how our society interacts with digital media, especially as a digital…

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