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.

如果艺术，尤其是音乐，在文化社会学中被框定为依赖于各种演员的集体生产，那么技术人员大多被框定为“支持人员”，对文化生产的意义产生了轻微的影响。 本书将声音技术人员作为技术中介进行分析。 他们是文化生产的自主参与者，并以各种方式对现场或录制的音乐表演的意义做出贡献，并被框定为一种互动仪式的形式。 从这个分析来看，它认为艺术家不应该被视为艺术世界的中心，并提出了一个模型，包括扮演不同角色的各种类型的演员，所有这些都是生产文化对象所必需的。