The piracy crusade: how the music industry's war on sharing destroys markets and erodes civil liberties

Kjøsen, Atle Mikkola

doi:10.1080/1369118x.2014.961499

Cited by 3 publications

(3 citation statements)

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“…See also Snape and Born, chapter 6, this volume, on the genealogy of the music programming language, Max. 7 On file-sharing as a form of resistance, see Cammaerts (2011aCammaerts ( , 2011b; Caraway (2011); Jones (2002); Sinnreich (2013). On participant perspectives and ethics, see Andersson (2012a); Burkart (2014); Giesler and Pohlmann (2003); Kibby (2000); ; O'Reilly and Doherty ( 2006).…”

Section: Notesmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of-and advancement of-theories of mediation.' -Jonathan Sterne, Communication Studies and Art History, McGill University 'This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.' -David Hesmondhalgh, Media and Communication, University of Leeds 'Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.'

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Section: Notesmentioning

confidence: 99%

:Music and Digital Media: A Planetary Anthropology

Erlmann

2023

Journal of Anthropological Research

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“…In the years since the turn of the 21 st century, digital communications networks have helped to spawn a dazzling array of new distribution and business models for recorded music. This has led to a diversification of revenue opportunities for creators as well as labels, publishers and distributors -although many of the most innovative models have been challenged, subverted and effectively kiboshed by legacy stakeholders, especially the major labels (Sinnreich, 2013).…”

Section: The Way It Is: the Download And Streaming Economymentioning

confidence: 99%

Slicing the Pie: The Search for an Equitable Recorded Music Economy

Sinnreich

2014

SSRN Journal

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“…The survey combines quantitative, multiple--choice questions regarding the prevalence of configurable cultural practices and attitudes with qualitative, open--ended, questions in which respondents' write--in responses reflect their ethical beliefs regarding these practices. As I will argue below, configurable culture has emerged as a definitively mainstream global phenomenon in the past five years, and despite global efforts to "harmonize" IP laws (Sinnreich, 2013), residents of different nations and regions continue to employ a variety of different ethical frameworks -most of which bear very little resemblance to the contours of the law -when evaluating the validity of these emerging cultural behaviors. Configurable Culture Adoption by the Numbers One of the fundamental aims of this series of surveys is to document the continuing proliferation of new, configurable cultural practices, from their relative infancy (in 2006) to their broader adoption in more recent years.…”

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Ethics, Evolved: An International Perspective on Copying in the Networked Age

Sinnreich¹

2016

The Aesthetics and Ethics of Copying

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One of the defining characteristics of media cultures and industries in the past two decades has been the emergence and widespread adoption of new expressive forms and practices whose aesthetic logics echo and reproduce the organizational precepts of digital communications networks. These new cultural forms, such as mashups, remixes, mods, memes and machinima, abandon the linearity inherent in mass mediated communications and supply chains in favor of more modular, recursive aesthetic and economic models. As cultural logics have evolved, so has our understanding of media producers and audiences. Perhaps most notably, the categorical distinction between producer and consumer itself appears to be eroding, a premise explored in terms ranging from "remix culture" (Lessig, 2008) to "produsage" (Bruns, 2008) to "prosumption" (Ritzer & Jurgenson, 2010) to "configurability" (Sinnreich, 2010) to "convergence" (Jenkins, 2006). While these theoretical perspectives differ in terms of their nuances, foci and conclusions, they point collectively to a fundamental paradigm shift regarding the role of cultural expression as a vector of power, identity and ideology in the networked age. Broadly speaking, most theorists consider the new challenges to industrial models of cultural production to carry a resistant, critical and/or democratizing capacity, though others have either questioned this assumption outright (Keen, 2008), raised concerns that these new cultural logics and the sociotechnical platforms on which they rely will undermine traditional economies to the point where culture industries cease to function altogether (Levine, 2011;Timberg, 2015) or lamented that digital media may serve as a new mask for social and economic power, strengthening rather than weakening hegemonic forces and thereby consigning cultural laborers and audiences, or even citizens at large, to a more subservient position than they previously occupied (Andrejevic, 2013;Morozov, 2011). Regardless of its net impact on the empowerment or subjugation of media audiences, nearly all scholarship agrees that the digital disruption of traditional media cultures and industries contributes to an increasing tension between the practices of media producers and consumers on the one hand, and the institutional environment in which those cultural practices occur, on the other. Centuries of coevolution between the aesthetic, legal, economic and organizational structures governing creative expression have contributed to a normative isomorphism between these structures, which has historically been both challenged and reified by the work of avant--garde movements (Poggiolo, 1981), "outsider" artists (Zolber & Cherbo, 1997), pranksters (McLeod, 2014), pirates (Johns, 2010, street performers (Mann, 2015) and others. While the historical dialectic between cultural regulation

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The piracy crusade: how the music industry's war on sharing destroys markets and erodes civil liberties

Cited by 3 publications

References 7 publications

:Music and Digital Media: A Planetary Anthropology

:Music and Digital Media: A Planetary Anthropology

Slicing the Pie: The Search for an Equitable Recorded Music Economy

Ethics, Evolved: An International Perspective on Copying in the Networked Age

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