If art and especially music has been framed in cultural sociology as a collective production
relying on a variety of actors technicians have been mostly framed as support personnel
marginally impacting the meaning of a cultural production. This book analyzes sound technicians
as technical intermediaries. They are autonomous actors of cultural production and contribute
in various ways to the meaning of live or recorded music performances framed as a form of
interaction rituals. From this analysis it argues that artists should not be considered at the
center of art worlds and proposes a model including various types of actors in different roles
all necessary to produce a cultural object.
