listed inthebibliography attheend. documents andarticleshave beenconsultedandtheyare answer thequestionstatedat the beginning.Severalbooks, methods ofanalysisinorderto underlinekeypointsthatwill Sony Walkmanhasbecomeadesign classiccombiningboth The purposeofthisessayistoanalyseandillustratewhythe analysing theSonyWalkmanasanexample. the developmentoftheseprocessesandhowtheyarticulate mechanisms regulateitsdistributionanduse.Thebookillustrates associated withit,howitisproducedandconsumed,and,what exploring howitisrepresented,whatsocialidentitiesare of distinctprocessesinordertostudyanyculturaltextorartefact, circuit ofculture.Itisatheoreticalmodelbasedonthearticulation Paul duGayintroduces inhisbook‘doingculturalstudies’the generating inthepresentmoment?. and, finally,whatusesandmeaningsitgeneratedcontinues evolution oftheactualdesign,howwasanditismarketed?, what wasthecontextofdesigndecisions?,explore existing one?whichwasthedesignpolicyofmanufacturer?, development, wasitanewproductoranimprovementof which wastheroleoftechnologyinfirststages history, whatwastheneedthathastobefulfilledatmoment, To studyadesignclassiconeshouldatleastexplore aboutit’s the components,putthemtogetherand,finally,buildanswer. has tobeapproachedfromdifferentwaysinordermakeall Why adesignclassicisclassic?Isquestionthat INTRODUCTION Walkman The Sony Santiago Acosta Maya events. exciting playsandliveoutsidebroadcastsofsportsnational were entertainedintheirownarmchairswithbigbandmusic, most popularintheUnitedStatesandEurope,wherelisteners could beheardfromradiosaroundtheworld.Earlyradiowas By the1920’sclear,good-qualitysounds,freefromdistortion, HISTORY School. EAFITUniversity. MA. IndustrialDesign.ProductDesign Engineering.Engineering continue generatinginthepresenttime. relations) andwhichmeaningshastheWalkmangenerated concepts aretakenintoaccount(marketresearchandpublic Walkman, andfinally,twosectionsinwhichsomekeymarketing caused someinfluenceintheshapeandfunctionsof analysed andexploredfollowedbydescribingthefactsthathas policy oftheSonycorporationanditsdesigndecisionsare transistors untilitslaunchin1979isrecreated,thenthedesign First theHistoryofSonyWalkmanfromdevelopment email: [email protected] SANTIAGO ACOSTA MAYA. BSc.MechanicalEngineering. 19 REVISTA Universidad EAFIT | enero.febrero.marzo | 2000 20

Radio became an important feature of every day life. The first qualified genesis, Sony had at a stroke created a genuine design, popular radios were made with large valves and other bulky original that everyone wanted to buy, instantly and world-wide. components. They were housed in a box, which because of its The first model of the Sony Walkman, the TPS - L2, instantly size, became an important feature within the home. The radio marketed as the Freestyle in Australia and Scandinavia, had to look attractive and match the taste and style of its owners. Sondabout in the United States and Stowaway in Britain, Changes in radio design were influenced by developments in established the compact format that countless imitations have the arts, science and industry. New materials, new processes since varied only superficially. and new technology were used to create radios and other type of equipment which offered improved quality and choice of styles The Walkman possessed, in the words of Akio Morita´s for the consumer. memorable phrase ‘ potential to fill an as yet unrecognised market need’. Valves were replaced by transistors and radios became smaller. At a stroke it reconfigured existing technology into a compact, The original wooden box was replaced by a moulded plastic unit stylish package that was desirably portable, easy to operate and and a variety of shapes and colours. capable of delivering better quality sound than many domestic In 1947 the Western Electric division of AT&T in the United States systems. made the first transistorised electronic components, this was a The Sony Walkman is a successful invention, it was designed to small amplification device that used semi - conductors. AT&T be worn leaving the listener free to walk about, as the name engineers thought that these devices were only useful for hearing suggests. aids. Hence through the United States regulatory anti trust system, licenses were granted to the small Japanese company SONY WALKMAN PERSONAL STEREO who wished to acquire the rights, and Mr Morita and Mr Ibuka TIMELINE from the newly named company, Sony, did in 1952 for U$ 25.000. From: http://www.sel.sony.com/SEL/corpcomm/news/ consumer/164.html Having purchased the rights to the transistor, the Sony company 1979 set to work and within two years it had demonstrated that these • Sony Walkman personal stereo is launched with the transistors did indeed have more applications than their use for TPS-L2, forever changing the way consumers listen to producing hearing aids. In 1950 Sony produced the first tape music. Called the “Soundabout,” the first Walkman recorder, the following year the corporation fitted it into a stereo came with two headphone jacks so people could suitcase, there by turning it into a portable model for domestic listen to music together. Originally, Sony was concerned use. In 1954 Sony produced the first transistor radio and by 1957 that product would diminish the pleasure of people it had been miniaturised to fit into a pocket. listening to music together, so two headphone jacks were created. The development of transistors in the 1950’s, followed by the microchip in the 1980’s have made possible such an extreme 1982 reduction in size of among other products, radios, tape recorders • Sony releases first recordable Walkman stereo, as well and calculators for example. The Japanese historical obsession as first Walkman stereo with personal tuner. for reductionism, i.e. bonsai and haiku, was ‘set free’ and 1983 extrapolated to their consumer electronic goods by the rising • To complement the explosion of the American fitness technologies. craze, Sony introduces the innovative water-resistant Sports Walkman model, perfect for listeners with active Launched in 1979, the Sony Walkman has long since passed lifestyles. into legend. Misnamed (in the view of Sony’s cofounder and former chairman, Mr Akio Morita, who at first thought the name 1984 nonsensical) and unwanted (according to the Hi - Fi dealers), • World’s first one-piece line of compact disc players is the first Walkman was an adaptation of the Sony Pressman TCM unveiled, providing listeners with the ability to enjoy the 100 Tape Recorder, launched a year earlier. Despite this rather crisp, clear sound of digital audio in the car. • New4xand2xCDtoMDdubbing unitsallowmusicloverstomaketheir • Theworld’ssmallestMDplayer, theSonyMZ-E90, isbarely larger thanthe • AnewPCtoMDinterfaceisintroduced,allowingowners downloadand • PCmusicloverswillnowbeabletodownloadtheirfavorite songsontothe • SonyWalkmanpersonalstereo(cassette,CDandMD)saleshit100million MDbecomesafashionaccessory.DianeVonFurstenburgdesignsvestfor • • Theworld’ssmallestMDrecorder/player(31/8x¾33/8inches)–the 1999 • World’slightestDiscman®portableCDplayerisintroducedwiththedebutof 1996 • Sonycelebrates50millionWalkmanpersonalstereossoldintheUnitedStates. SonylaunchestheMiniDisc(MD)recorder/player–thenewgeneration • 1992 Addressinganeedforhigh-qualitydigitalpersonalaudio,Sonyintroducesthe • 1990 Justeightyearsafterrevolutionizingthewaywelistentomusic,first • 1987 • Walkmanstereopopularityhitsthefashioneliteasworld-famoushairdesigner 1985 quality ofthemusic ispreserved. Although therecordingspeedis 4x and2xfasterthannormalplay,theredigital favorite musicmixesinone-quarter orone-halfthetime,respectively. MD itself,andisidealforlistening tofavoritemusiconthego. archive musicfromtheInternetusingtheirPC. Memory Stick,anewtypeofexceptionallycompactstorageandtransfer media. stereo. ThisnewpersonalstereorecordsonSony’s ultimate Walkmanmodel,the2.5-ounceMemoryStick personal in theUnitedStates. player/recorder. the “WiredWoman,”completewithapocketforherownMiniDiscportable addition totheMDlineoffersultimateinportabilityandconvenience. Less pocket,thenewest thananinchthickandsmallenoughtofitinashirt Sony MZ-R55 –isunveiled. the D-777.Theultralightunitweighedlessthan6.3ounces. with superiorsoundquality. Walkman stereo–withanultracompact,digital,re-recordableopticaldisk World’s firstDigitalAudioTape (DAT)Walkman model. culture asapermanentinstallationattheSmithsonianInstitution. Walkman personalstereobecomesimmortalizedasaniconofAmerican Jean Louis D’eforges creates the“Walkman Cut.” revolutionary ideas whichrecreateand group of‘crazydesigners’with new and professionals inthecompany.There isa specifications ofengineersand other rather thandevelopingtheideas and initiator oftheentireproductconcept innovation, thedesigncentreis generates anatmosphereofcreativityand in whichengineersarethe‘sacredcows’, Sony, unlikelymanytraditionalcompanies The importantplacethatdesignhasin consumers. crucial meansofcommunicatingwith and tactile‘feel’ofaproductwhichare design andtakingcareofthevisual‘look’ fashion, pop,...,etc,andtranslatingitinto scanning art,architecture,technology, groupings. Thedesignerisaradar- cultural practicesoftargetconsuming contemporary culturaltrendsandwiththe are keptcloselyintouchwith organised insuchawaythatdesigners Thirdly, designatSonyhasbeen become themostofseniormanagers. senior managementand,indeed,have have enjoyedrelativelyeasyaccessto be greater.Secondly,designersatSony design anddesignersatSonyisheldto functional andoccupationalstatusof important thanproductionactivities;the which designfunctionsaremore First, thehierarchyofoccupations,in production andconsumption. been thekeytoitssuccessarticulating organisation ofdesignatSonywhichhave manner. Therearethreeelementsofthe to consumer‘needs’inahighlyflexible products whichbothcreateandrespond which enablesthecompanytomake Design atSonyisorganisedinaway paradigm ofa‘design-led’corporation. represented andrepresentsitselfasthe Sony isanorganisationwhichboth DESIGN POLICY 21 REVISTA Universidad EAFIT | enero.febrero.marzo | 2000 22

conceive magic solutions for the needs identified or created by As far as Japanese design is concerned, the post - war period the company and Sony argues that if the aim is to produce a of reconstruction was strongly influenced by the United States. new and revolutionary new concept these group of designers Many companies, like Sony, that grew up during this period, and should manage the project, but if the aim is only to enhance that are now recognised as Japan’s design leaders, did not production specifications and cost reduction the engineers has embody Japanese ‘tradition’ in designing their products, they to be called. adapted mainly North American and German conceptions of what industrial design is and should be. Japanese design is not a Design at Sony is also organised to stay close to the final user; tradition that has stayed throughout time, but rather it is a reading the ‘signs’ on the street as well as concentrating on the transculturated phenomenon, a process of hybridisation. function and form of the products to respond to the needs with new or better existing products. Rather than being the product of a closed homogeneous, national tradition, then, the Walkman is perhaps better viewed as a global As a Japanese company, in which the team work and interaction material cultural artefact. Japanese designers have drawn and between different professionals is a kind of industrial religion, continue to draw upon a variety of cultural influences from around Sony has created an interdisciplinary environment in which the the world in creating ‘Japanese’ products for an increasingly new ideas and ways of doing things are shared and developed global market place. Since the 1970’s the number of Japanese with all the teams looking forward aiming at the same target. ‘travellers’ has increased and they are defined as the man behind This is the key of success in the actual competitive market place, the camera... but it is not that stupid, they are kept in touch with and, on the other hand a great advantage that Sony has had when the world and with open eyes to finally, like Sony, do what others the ‘race’ of the consumer electronics products took place, and have not done. which, by the way, was the start point of globalization.

Through out the 1980’s Sony presented the company as a global DESIGN DECISIONS corporation aiming to operate in ‘all’ markets across the world, The Walkman was to reach as many potential consumers as possible and directed at young reorganising and re - engineering processes of production, in consumers. It was such a way, so that they will not be limited by the constraints of aimed at those the nation - state. Sony adopted a strategy of globalization that people who already involved moving their manufacturing and marketing operations listened to music to different locations around the world and setting up ‘local’ whilst moving around operations in various countries reducing production, shipping and the home, driving in a handing costs. But this is not as simple as that !... A fully car or motorbike or, Japanese company trying to ‘catch’ a complete different world simply, walking on ... well, Sony began to interact and to employ professionals in the street. Observing the countries in which the company was planning to set that young people operations and give full training. seemed to need to have music constantly with them, some listening everyday in their homes and others, carrying their So, having analysed the importance of multidisciplinary work and ‘personal’ stereos on their shoulders, Morita and his some rough origins of globalization, the question of how Japanese colleagues felt that the Walkman would enable people to take the Walkman is then arises. Traditional Japanese design is their music with them. characterised by its compactness, aesthetic simplicity, attention to detail and miniaturisation. According to the former head of Sony began to customise the product, targeting different sorts of the Sony design centre, Mr Yasuo Kuroki, for example, the early Walkman at different consumer markets combining responsive Walkman model clearly drew upon Japanese tradition in that it design and visual communication with techniques of market used simple colours (specially black), its small size, the segmentation to create the need to have the proper Walkman simplicity of its visual ‘look’, and, had linear form reflecting that goes with the lifestyle of the user. Sony was attempting at traditional tatami mats with their characteristic straight lines. the same time to standardise the package and advertisements things thathave happenedsinceitwas has beeninfluencedbydifferent sortof Generally, thedesignofSony Walkman continue doingit. hundreds ofdifferentmodels, and will surprise tosaythatSonyhadproduced lightweight, pockedsized,itisnota eminently portable,convenient, general characteristicsoftheWalkman, decisions, previouslytreated,andthe design policy,thecontextof According tothedevelopmentof THE DESIGN Player foreachofthem. style withaproper Portable Cassette variety ofusersallages,tasteand its finishingtouches,addressingahuge consumption articulatetheproductreceive with consumers.Asproductionand are crucialmeansofcommunicating colours, shapesandsizesoftheWalkman suit thetasteofitsowner.Thevariety has becomeadailystylishgadgetthat sort ofmodelsanddesignsavailableit the ‘lifestyling’processanddifferent of youngperson’ssurvivalkit.Because The Walkmanisnotonlyanessentialpart modernity placesonmobility. the highvaluewhichcultureoflate circumstances. Itisatestimonyof urban voyager,readyforallweathersand of modern‘nomad’,theself-sufficient travelling light.Itispartoftheequipment who arealwaysoutandabout,for It isdesignedformovement,people as partofone’sselfimageorstyling. designed tobeworn,likeone’sclothes, convenient, lightweight,pocket-sized, The Walkmaniseminentlyportable, different marketsandlifestyles. a rangeofmodelstheWalkmanfor being usedaroundtheworldbydesigning were products different waysinwhich and toindividualisebyrespondingthe Digitalelectronics(theknurled wheel • LiquidCrystalDisplays(‘Techy´ look • AutomaticTape Selector(elimination • Microelectronics(reductioninsize). • Andsomeofthesignificant • comfortableheadphones. • Alarmclock(inthelatestmodels) • RoundededgestocarrytheWalkman • Improvedergonomicsandtactilefeel. • Directionmodebutton(toplaythe • Differentcolours. • Shockresistance(reductionofthe • Kid’sversionfortheseriesof‘Myfirst • Waterproofmodels(Sportsand • Eliminationoftheextraheadphones • Eliminationofthehotbutton • Feedback are: Some ofthekeychangesduetoUsers and aseriesoftechnologicalinnovations. are bothafeedbackfromtheusers launched in1979.Thesesortofthings to performthetuning optionoftheradio ! ...) Cr2O2 ormetaltapes) of theselectionbuttonsfornormal, both shapeandfunctions)are: way influencedachangeinthedesign, technological changesthatinsome in thehand. in thepocketmorecomfortableoreven and openingthemachine). other sideofthetapewithoutstopping cassette window) Sony’. Shower). socket. amplification ofambientsound). (suppressing tapesignaland MARKETING 18, 38 and 135. 18, Magazine issue42January2000pages MP3 playerswithstunningdesign.SeeT3 latest technologymagazinesisfullofnew music onthemove.Everyissueof The futureseemstobebrighforthe What isNext? and averymodernlook. full ofhightechfunctionsandinnovations and newWalkmansaregettingsmaller, now slowlybeingreplacedbytheMinidisk ‘son’ theCompactDisc.Thecassetteis in thepastwhenitwasreplacedbyits similar likethevinyllongplayexperienced The cassetteisnowsufferingsomething MeggaBass(enhancedbassand • DCS.DigitalCassette System • variable frequencyamplifier). a cassetteinside’). wheels andtheproductshouts‘Ihave functional buttonsthatlooklikethe were replacedsemanticallybytwo two runningwheelsofthecassette covered andthetraditionalviewof So thecassetteisnowcompletely replaced withinformationontheLCD. an howmuchofitwasplayed need towatchhowthetapewasgoing (Elimination ofthefront‘window‘, buttons). radio stationsinthememory,(more ‘-’ anditmadepossibletopreset was replacedbytwobuttons‘+’and 23 REVISTA Universidad EAFIT | enero.febrero.marzo | 2000 24

In a company such as Sony, whose charter is to ‘do what others different ways from existing products, the more you have to ask have not done’, the Former chairman and cofounder, Mr Akio basic questions to discover the underlying needs of customers... Morita, believes that customers cannot say they want a product The more constrained you are to designing a product which which they have never imagined before. Morita faced exactly functions in similar ways to existing products the more specific this problem in the now - legendary development of the Sony your questions... You simply need to know what they think about Walkman. what is already on offer’

During the end of the 1970’s when the Walkman was first Akio Morita’s doubts were not, therefore, be whether or not to prototyped, tape recorders were products which played and conduct market research but rather what type of questions you recorded sound. Presented with a machine which not only lacked should ask and how the company has to work to successfully on recording facility but which also could be used by only one launch a completely new product in the market. person, through headphones, Sony’s marketing department When the personal stereo was introduced as the Walkman in concluded that this was a ‘dumb product ! ’ Fortunately Morita Japan during july 1979, the company developed a launch had tried the Walkman himself and love it. The marketing strategy that did not involve a large advertisement budget. Instead, scepticism was over - ruled and a great success story resulted. the company made maximum use of publicity channels. Unlike But were does this leave market (needs) research ? Sony knew advertisement which is paid for and clearly controlled by the a lot about customer needs for tape recorders and concluded company, publicity is not ‘bought’ in quite the same way. Public from this research that the Walkman was not viable. But what relations work is often hardly to identify, yet it can be very assumptions was their research based on ? The need to record effective, particularly when it appears as ‘news’ or magazine is explicit in the name tape recorder. To ask customers whether articles (as opposed to advertisements that seem to come a tape recorder needs to record is self - contradictory. Ideally, directly from the company). In the initial selling of the Walkman, market research should ask questions at a variety of levels from public relations and publicity was far more significant than general to specific. Finding out how, when were customers want advertising. to listen to music calls for very different research to finding out The company decided to make available hundreds of sets of the whether a tape recorder needs to record. new portable cassette player, free of charge, to key persons prior Sony did actually have marketing data which could have been the public launch. These key persons were carefully chosen and interpreted as evidence of a market need. ‘music on the move’ selected. Sets were given to magazine editors, and specially, was a recognised trend at the time and the need for portability touring musicians, they use to carry records and tapes of the in tape recorders was only being addressed by putting carrying music they are going to play and the directors comments and handles and huge battery compartments on otherwise unwidely instructions of different aspects of the piece in order to be products. Furthermore it seems likely that if the marketing prepared for the concert. department had explored customer’s use of recording felicities, Musicians from the famous European and American orchestras they might have found it less essential than they thought. were often approached by the media and so, on the photographs Customers rarely record anything outside the home and, at and in the comments the New gadget and its benefits will be home, most would have a second Hi - Fi system, probably Sony described in some way with some level of detail. as well ! So it is no sense in a company like Sony to kill the mother after the children was born, they also create a second Listening was also emphasised when the press were invited to need, record with great quality at home and then listen in the the launch of the Walkman. The invitations were sent out on Audio little new thing while on the move. cassettes, rather than the usual invitation card or press release. They were invited to watch youngsters roller - skating while Akio Morita says in his memories, talking about the Walkman listening to their Walkmans and to listen to the Walkmans in that ‘... The public does not know what is possible, but we do. specially designed rooms for the purpose. So instead of doing a lot of market research, we refine our thinking on a product and its use and try to create a market for it A further promotional tactic involved the company paying couples by educating and communicating with the public... The more to stroll through Tokyo’s biggest and important shopping district freedom you have to design your new product in radically whilst listening to their Walkmans. Several Vox Populi interviews Sony makes.Other waystodemonstratethisaffirmation isbyaskingsomeone who makes, labelsandvarietiesofPersonal Stereo Radio-CassettePlayers,notonly the the “walkmans”,immediatelyhe orshewillshowyouahugequantityofdifferenttypes, statement canbedemonstrated just bysimplyaskingtotheclerkifhecanshowyou world. Intheelectronicequipment shops,likeDixonsintheU.Kforexample,this spoken languagesinthe introduced toalmostallthe term, anountobeprecise, The word‘Walkman’isanew place -the‘symbolic’world and communicationtake in whichlanguage,thinking material worldandthe‘world’ bridge thegapbetween or writewithit.Meanings cannot thinkwithit,orspeak the actualWalkmanbutyou in thereal world.You canplay in reallifebutwhichoccurfilmsandnovels,dreamsfantasies,aswellobjects sense’ ofthingsandevents,includingthosewhichwehadneverseenorexperienced Meanings helpustointerprettheworld,classifyitinmeaningfulways,‘make MEANINGS way, arewidelytransmittedtoallcornersoftheworld. shops orsectionsofshops,andsponsoringexpeditionssportteamswhich,bythe advertisements areinprintedposters,carefullyeditedcatalogues,smartdesigned The SonyCorporationhasdevelopedaverypowerfulgraphicimageandmostofits women’s legsandshoes. There aresomeWalkmanadvertisementswhichthematize‘walking’,showingonly embody theculturalideaofmobility,mobileprivatisation,portabilityandmovement. is broadenedouttocovercertain‘lifestyles’and‘socialidentities’whichrepresent and representationsthatareworking,inpart,theimagination.Themetaphorofwalking uses thiskindofthing.Itdoessobyaddressingtheconsumerswithmeanings the product.Itmustgetustoseeourselvesassortofpersonwhobuysand It mustaddressthebuyer.createanidentificationbetweencustomerand language whichspeaksonbehalfoftheproduct.Advertisingmakescommoditiesspeak. attempts tocreateorconstructidentificationwiththeimage.Advertisingiscultural discussed, Sonyincreaseditsworkonproducingadvertisementsinwhichthelanguage identified andrecognisedbythemembersofpublic,viatacticspreviously After themassmediawereapproachedand,insomeway,machinewasnow player. Theirreactionswerevideo-tapedandfeaturedinnewsbroadcasts. ask visitorstoJapanabouttheiropinionandresponsesthenewportablecassette were conducted

in collaborationwithbroadcasters,theairportsandtrainstations,to and and that you can walk while cassette -player,poweredbybatteries object workslikeasmallheadphone Oxford’s definitionreallysaysthat‘this powered’ andno‘battery-operated’.The definition, itshouldsay‘battery- other hand,thereisamistakeinthe player’ and‘headphones’mean.onthe words as‘battery-operated’,‘cassette works ifyoualreadyknowwhatsuch meant. However,Oxford’sdescriptiononly way torepresentwhattheWalkman to uselanguageinaplainlydescriptive Here TheOxfordEnglishDictionarytries person whoisonfoot. headphones capableofbeingwornbya battery -operatedcassetteplayerand Walkman follows: has anentryfortheword“Walkman”as The OxfordEnglishDictionary,VolumeXIX, ‘Sharp’, ‘Philips’or...‘Sony’. clear andwellpronounced‘Aiwa’, look ontheirmachineandanswerwitha make isyour“walkman”?,heorshewill actually hasaPersonal Stereo thatwhich headphones. audio taperecorders,radios and ... Walkman 20 Dec.TM288/1SonyCorporation ... 1883

operating it’.Itisusingwords metaphorically. definition: Continuing withtheOxford’s 1981 623/2 and electronicapparatus instruments ...fortransmitting, receiving, tuning,recordingand reproducing audioandvisual earphones ...cassettesSony loudspeakers; headphones; signals ...batteries;aerials; Official Gaz. ...Foraudiotapeplayer, . A proprietarynameforsmall

Trade MarksJrnl Walkman... (U.S Patent office) Electrical . 25mar. 25 REVISTA Universidad EAFIT | enero.febrero.marzo | 2000 26

The Sony Walkman is not only a part of our culture. I has a The Walkman allows its users to be missing and to be enclosed distinct ‘culture’ of its own. Around the Walkman there has in a self - imposed sound landscape, a barricade a barrier, a developed a distinctive set of meanings and practices. The very blockage between ‘me’ and the world, that irritates onlookers word ‘WALK - MAN’ conjures up an image, or an idea - a concept which find themselves reduced to the activity of looking, alone - of the device. hearing the ‘buzz’ from the Walkman user headphones.

So, the Walkman is ‘cultural’ because we have constituted it as In its mobile, wraparound world, the Walkman, like dark glasses a meaningful object. We can talk, think about and imagine it. It and iconoclastic fashion, serves to set one apart while is also ‘cultural’ because it connects with a distinct set of social simultaneously reaffirming individual contact to certain common, practices (like listening to music while travelling on the train, if shifting, measures (music, fashion, aesthetics, metropolitan metropolitan or the underground, for example) which are specific life, ..., etc and their particular cycles of mortality). So the to our culture or way of life. It is cultural because it is associated Walkman is both a mask and a masque: a quiet putting into act with certain kinds of people (young people, for example, music of localised theatrics. It reveals itself as a significant symbolic - lovers, ..., etc); with certain places (the city, the open air, gadget for the nomads of modernity, in which music walking around a museum) - because it has given or acquired a on the move is continually being decontextualized and social profile or identity. The image of the Sony Walkman ( sleek, recontextualized in the inclusive acoustic and symbolic life high - tech, functional in design, miniaturised ) has become a of every day life. sort of metaphor which stands for or represents a distinctively late - modern, technological culture or way of life. The Walkman is a successful invention, designed to be worn leaving he listener free The meanings attached to, or coded into, objects in the act of their initial production are never automatically folded into the to walk about. psychic life of those at whom they are aimed. Meaning is also The designer is a radar -sacanning art, produced by consumers through the use to which they put those architecture, technology, fashion, pop,..., etc. objects in the practice of their everyday lives. Meanings are not just sent by producers and received passively by consumers; And translating it into design. rather, meanings are actively made in consumption. The Walkman was directed at young consumers The Walkman took those elements associated with private observing that they seem to need to have music listening and allowed them to leave their normal position within constantly with them. social space and to enter a domain where they were materially and symbolically ‘out of place’. Its ‘private - listening - in - public Sony reconfigured exiting technology into a - places’ aspect triggers off many themes associated with late compact stylish package, desirably portable, - modernity as a distinctive way of life: the lonely figure in the easy to operate and capable of delivering crowd, using the media to screen out the routines of boring, every better quality sound than many deomestic day life; the emphasis on mobility and choice; the self - sufficient individual wandering alone through the city landscape. systems.

The form of listening that is a decisive break from the past is Design articulate the world of engineers with that made possible by the Walkman. If music is a kind of storage the market and consumers. place for the emotions generated by cultural conflicts and struggles, then we can talk about the production of such conflicts Meanings are not just sent by producers and and struggles on the human body at the press of a button. In the recived passively by consumers; rather, age of the Walkman (or its more sophisticated affiliates, the meanings are actively made in consumption. Discman and the minidisk), the emotions have become portable. Keep your personal stereo . . . PERSONAL. Morita, Akio.(1987). Lambert, Susan du Gay, P Baxter, Mike.(1995). BIBLIOGRAPHY London. Harper-Collins. Museum. funtion University. in associationwithTheOpen Walkman. Cultural Studies,ThestoryoftheSony Chapman &Hall. development ofnewproducts. practical methodsforthesystematic . Hall,S.etal.(1997). . London. VictoriaandAlbert London. SAGEPublications . (1993). MadeinJapan Product Design, Form follows London. Doing . Wise, David.(1990) Sparke, Penny. (1987). Vickers, Graham.(1995). T3 Magazine.IssueNo.42January Tobin, J.J.(1992) Susex. Wayland. design design. 2000. www.t3.co.uk London, Yale UniversityPress. changing society everyday lifeandconsumertasteina . London. TheDesignCouncil. London. Swallow. Re -MadeinJapan: Designinfocus .Newhaven, CT, and Modern Japanese Style inproduct . East 27 REVISTA Universidad EAFIT | enero.febrero.marzo | 2000