Question

Answer the following questions 1. What type of ringtones does the poet mention? What kind of ringtone do you like ?​

Answer 1

Answer:

This essay attempts to provide a description of the global ringtone industry, to determine and assess the numerous cultural consequences of the ringtone’s appearance and development, and to situate the ringtone within the context of contemporary capitalism. At its broadest, my assertion is that the development of the ringtone is a powerful lens through which we might clearly view some of the dynamics of present day (or “late”) capitalist cultural production, including the development of new rentier economies within oligopolistic sectors of production and consumption, and a long–term shift in global productive dominance from North America to the Pacific Rim. The ringtone is also a remarkable cultural phenomenon that is demonstrating a high degree of popularity and is undergoing rapid transformation; therefore, its short, continuing lifetime already needs to be assessed historically.

 

 

You hear them everywhere. Ringtones, or the specialized sounds used to alert mobile phone owners that someone is calling them, are liable to resound within earshot in almost every conceivable modernized public and private space. Their unmistakable, ubiquitous presence is found on streets and sidewalks; in offices and workplaces; in buses, trains, subways, and cars; in shops and malls; in schools and public buildings; in concert halls and performance spaces; in parks and outdoor areas; and in homes and places of residence — houses, apartments, condominiums, dormitories, trailers, hotels. As some scholars have noted, cellular telephones are becoming a central feature in popular music and everyday sonic experience [1]. But although few have remained untouched by the dramatic rise of global, mobile–telephone–based auditory cultures during the

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