Citation

Formilan G, Stark D. Br. J. Sociol. 2020; 71(3): 572-589.

Copyright

(Copyright © 2020, London School of Economics and Political Science, Publisher John Wiley and Sons)

DOI

10.1111/1468-4446.12726

PMID

unavailable

Abstract

Name-altering practices are common in many creative fields?pen names in literature, stage names in the performing arts, and aliases in music. More than just reflecting artistic habits or responding to the need for distinctive brands, these practices can also serve as test devices to probe, validate, and guide the artists? active participation in a cultural movement. At the same time, they constitute a powerful probe to negotiate the boundaries of a subculture, especially when its features are threatened by appropriation from the mass-oriented culture. Drawing evidence from electronic music, a field where name-altering practices proliferate, we outline dynamics of pseudonymity, polyonymy, and anonymity that surround the use of aliases. We argue that name-altering practices are both a tool that artists use to probe the creative environment and a device to recursively put one?s creative participation to the test. In the context of creative subcultures, name-altering practices constitute a subtle but effective form of underground testing.

Keywords

alias; anonymity; creative identity; electronic music; pseudonymity; subculture; testing