This paper explores how Eno has used simple but innovative ideas and processes to inform his music over the course of his career, and considers how his work with collaborators – specifically the musician and software designer Peter Chilvers – has converged with the emergence of touchscreen technologies and modes of distribution. With the recent publication of the edited collection Brian Eno: Oblique Music (Albiez & Pattie, 2016) and the distribution of Brian Eno’s 26th solo studio album Reflection in 2017 on vinyl, CD and as an innovative software application, the time is ripe for a reconsideration of the way in which software has been used by the musician, composer, record producer and visual artist Brian Eno. In this paper we analyze the evolution of mobile television, mobile video, mobile music and mobile video games in the light of three intertwined processes: in first place, the drift of media entertainment rituals toward social sharing that enacts social relationships as an object of consumption secondly, the increasing relevance of transmedia multiscreen entertainment habits that influence formats and distribution strategies and, finally, the importance of personal information and user profiles in the digital content value chain and its impact in the business models of digital cultural industries Among them, audiovisual narratives (like movies, series or videos), normative arrangements (like games) and musical aesthetics show to have a prevalent place. Accordingly, the very differentiation of entertainment content in the mobile environment necessarily refers to legacy media genres: standardized formats that enable specific, socially inherited entertainment rituals.
As a part of this enjoyment oriented consumer culture, mobile media are not an exception and entertainment lies at the core of the mobile phone mediatisation process. In this text we approach a definition of entertainment as related to the enjoyment or delight of users with (or through) media content. Despite being a common place in media and cultural studies, the term does not delimit a clear field of cultural content or media genres.
Entertainment has been traditionally a central driver in the evolution of cultural industries.
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