The pirates of Nevskii Prospekt: Intellectual property, piracy and institutional diffusion in Russia

Sezneva, Olga

doi:10.1016/j.poetic.2012.02.005

Cited by 7 publications

(7 citation statements)

References 13 publications

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“…In terms of local circumstances, in the Russian media context, software and content piracy are considered part of the national culture. Often allowed to proliferate, piracy has frequently been used instrumentally by the Russian state for practising censorship and negotiating its terms of access to international institutions (Kiriya and Sherstoboeva, 2015; Sezneva, 2012). In 2004, the state purposefully refused to enforce anti-piracy legislation in order to negotiate its terms of access to the World Trade Organization.…”

Section: Identifying the Need For Repairmentioning

confidence: 99%

Repairing and developing software infrastructures: The case of Morevna Project in Russia

Velkova

2017

New Media & Society

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This article discusses how alternative software infrastructures can emerge out of frictions, failure, and repair in the attempts of media creators to evade piracy. Using a case from the geographical fringes of Russia called Morevna Project, and theories of infrastructures and repair, the article suggests how repair can lead to the slow, mundane and fragile formation of what I refer to as ‘situated’ digital infrastructures for cultural production. While pirate-based media production can push creators to search for and develop alternative infrastructures, the latter emerge as fragile frameworks that are constantly threatened from collapse and suspension. The continuous work of integrating diverse interests across local and online media-related contexts and practices becomes an essential stabilising force needed to perpetuate these infrastructures and prevents them from falling back into oblivion.

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Section: Identifying the Need For Repairmentioning

confidence: 99%

Repairing and developing software infrastructures: The case of Morevna Project in Russia

Velkova

2017

New Media & Society

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“…The former refers to ‘how individuals nowadays get into music, either of which can be market or social exchanges’ (López-Sintas et al., 2014: 56–57). Here, we cover aspects which might imply, or not, technological involvement such as buying music in stores or acquiring it through gifts, free Internet downloads and informal markets (Bustinza et al., 2013; Sezneva, 2012; Tepper and Hargittai, 2009). For the latter, we recall Sterne’s (2012) definition of format , which ‘denotes a whole range of decisions that affect the look, feel, experience, and workings of a medium.…”

Section: Technologies and Musical Practicesmentioning

confidence: 99%

Musical preferences and technologies: Contemporary material and symbolic distinctions criticized

Leguina

Arancibia-Carvajal

Widdop

2015

Journal of Consumer Culture

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Music as a mechanism for social distinction is well established. Yet, perhaps more than any other form of cultural expression, it is music which has been systematically transformed by emerging technologies. From the gramophone, radio, cassette and CD, through to portable devices and shared through social media, music is in constant flux. To separate taste for music from its various acquisitional forms is to undermine its role in society. In this article, our aim is to integrate within taste and cultural consumption analysis a salient dimension, such as technologies to acquire music, conceptualized as modes of musical exchange and formats used to listen to music. We argue that these are components of musical consumption practices which enhance our understanding on how symbolic boundaries are shaped today. Using multiple factor analysis, this study provides a simultaneous analysis of musical tastes and technological engagement in Chile. We find that uses of technologies share a unique relationship to musical taste. Musical taste remains a relevant process of distinction, but modes of exchange prove to be an emerging property. They, however, do not create new symbolic boundaries; rather, they are important in reinforcing those that exist.

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“…In Algeria, the pirate access to the image of foreign lands is not only sought for the entertainment it provides, but is also 'a means of "getting away" from a daily life made of economic difficulties and democratic insufficiencies' (Labandji quoted in Mattelart 2012, 738). Assembling a piece of music through a bit-torrent and maintaining relationships with illegal distributors is essential to many Russians' self-images as culturally savvy and well informed (Sezneva 2012). In these examples, listening to certain music, viewing a particular film and wearing a specific brand of clothing allows individuals to mimic a kind of modern subject who is not otherwise attainable either through national political institutions or domestic economic development (Thomas 2012).…”

Section: Cosmopolitanism Of the Abjectmentioning

confidence: 99%

Pirate cosmopolitics and the transnational consciousness of the entertainment industry

Sezneva¹

2014

Ethnic and Racial Studies

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As cultural texts, music and movies generate transnational publics united by shared identities and tastes. As objects of economic value, they fall under the juridical protection of global intellectual property institutions. These institutions aspire to produce their own version of a global citizen qua the responsible consumer. This paper argues that illegal copying and distribution have a capacity to forge new transnational affiliations. At the same time, they are subject 'abjection' by the apparatus of copyright enforcement. Focusing on the acts of semantic enclosure that such enforcement produces, the paper concludes that 'policing' has been increasingly mobilized as a path to becoming 'global citizen', thus reducing possibilities for the development of a critical, pluralistic subjectivity commonly termed 'cosmopolitan'.

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The pirates of Nevskii Prospekt: Intellectual property, piracy and institutional diffusion in Russia

Cited by 7 publications

References 13 publications

Repairing and developing software infrastructures: The case of Morevna Project in Russia

Repairing and developing software infrastructures: The case of Morevna Project in Russia

Musical preferences and technologies: Contemporary material and symbolic distinctions criticized

Pirate cosmopolitics and the transnational consciousness of the entertainment industry

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