“Shibboleths in the Studio: Informal demarcation practices among recording engineers” was recently accepted for publication in the journal Social Studies of Science. In the article I look at how recording engineers distinguish their work in the face of the increasing amateurization (the expectation to work for free “just for the love of it”) and automation (via software like Auto-Tune and Landr) of their profession. Here’s a draft version.

Artist Doris Salcedo’s “Shibboleth” is a giant crack in the cement floor of the Tate Modern.