ABSTRACT
The notion of a "new mobilities paradigm" sometimes otherwise known as the "mobilities turn" and perhaps consolidated into "mobility studies" was coined by the partnership of Mimi Sheller and John Urry, and developed in concert with collaborator Kevin Hannam. Attendant to a "spatial turn" within the social sciences and humanities, the "new mobilities paradigm" contextualized mobility as being given meaning, and conditioned by the social, cultural, and political contexts within which it passed, performed, or remade. Work that collaborated with the emerging "new mobilities paradigm" focused considerably on music. Working at the genesis of the "New Mobilities Paradigm" Connell and Gibson emphasized the importance of not just mobility and flow, but the reassertion of immobility, to the extent that the signatures of places are not only to be found in the textures of music.
