ABSTRACT
It now remains to draw together the main themes emerging from the three parts of this book, drawing on the theoretical framework of relational economic geography, as discussed in the Introduction. As an entry point into such a discussion, it is useful to return to Chris Gibson's (2005) assessment of recording studios as relational spaces of creativity:
What we hear when we listen to recorded music is not just a product of musician's creativity, but an emotive performance produced in particular spaces and through affective relations between musicians, producers, engineers and technologies.
(Gibson 2005, 192)