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This edited collection considers various meanings of the
"Spotification" of music and other media. Specifically, it replies
to the editor's call to address the changes in media cultures and
industries accompanying the transition to streaming media and media
services. Streaming media services have become part of daily life
all over the world, with Spotify, in particular, inheriting and
reconfiguring characteristics of older ways of publishing,
distributing, and consuming media. The contributors look to the
broader community of music, media, and cultural researchers to
spell out some of the implications of the Spotification of music
and popular culture. These include changes in personal media
consumption and production, educational processes, and the work of
media industries. Interdisciplinary scholarship on commercial
digital distribution is needed more than ever to illuminate the
qualitative changes to production, distribution, and consumption
accompanying streaming music and television. This book represents
the latest research and theory on the conversion of mass markets
for recorded music to streaming services.
Digital piracy cultures and peer-to-peer technologies combined to
spark transformations in audio-visual distribution between the late
1990s and the mid-2000s. Digital piracy also inspired the creation
of a global anti-piracy law and policy regime, and
counter-movements such as the Swedish and German Pirate Parties.
These trends provide starting points for a wide-ranging debate
about the prospects for deep and lasting changes in social life
enabled by piratical technology practices. This edited volume
brings together contemporary scholarship in communication and media
studies, addressing piracy as a recombinant feature of popular
communication, technological innovation, and communication law and
policy. An international collection of contributors highlights key
debates about piracy, popular communication, and social change, and
provides a lasting resource for global media studies. This book was
originally published as a special issue of Popular Communication.
Digital piracy cultures and peer-to-peer technologies combined to
spark transformations in audio-visual distribution between the late
1990s and the mid-2000s. Digital piracy also inspired the creation
of a global anti-piracy law and policy regime, and
counter-movements such as the Swedish and German Pirate Parties.
These trends provide starting points for a wide-ranging debate
about the prospects for deep and lasting changes in social life
enabled by piratical technology practices. This edited volume
brings together contemporary scholarship in communication and media
studies, addressing piracy as a recombinant feature of popular
communication, technological innovation, and communication law and
policy. An international collection of contributors highlights key
debates about piracy, popular communication, and social change, and
provides a lasting resource for global media studies. This book was
originally published as a special issue of Popular Communication.
With the rising popularity of online music, the nature of the music
industry and the role of the Internet are rapidly changing. Rather
than buying records, tapes, or CDs-in other words, full-length
collections of music-music shoppers can, as they have in earlier
decades, purchase just one song at a time. It's akin to putting a
coin into a diner jukebox-except the jukebox is in the sky, or,
more accurately, out in cyberspace. But has increasing copyright
protection gone too far in keeping the music from the masses?
Digital Music Wars explores these transformations and the
far-reaching implications of downloading music in an in-depth and
insightful way. Focusing on recent legal, corporate, and
technological developments, the authors show how the online music
industry will establish the model for digital distribution,
cultural access, and consumer privacy. Music lovers and savvy
online shoppers will want to read this book, as will students and
researchers interested in new media and the future of online
culture.
When people think of hackers, they usually think of a lone wolf
acting with the intent to garner personal data for identity theft
and fraud. But what about the corporations and government entities
that use hacking as a strategy for managing risk? Why Hackers Win
asks the pivotal question of how and why the instrumental uses of
invasive software by corporations and government agencies
contribute to social change. Through a critical communication and
media studies lens, the book focuses on the struggles of breaking
and defending the "trusted systems" underlying our everyday use of
technology. It compares the United States and the European Union,
exploring how cybersecurity and hacking accelerate each other in
digital capitalism, and how the competitive advantage that hackers
can provide corporations and governments may actually afford new
venues for commodity development and exchange. Presenting prominent
case studies of communication law and policy, corporate hacks, and
key players in the global cybersecurity market, the book proposes a
political economic model of new markets for software
vulnerabilities and exploits, and clearly illustrates the social
functions of hacking.
When people think of hackers, they usually think of a lone wolf
acting with the intent to garner personal data for identity theft
and fraud. But what about the corporations and government entities
that use hacking as a strategy for managing risk? Why Hackers Win
asks the pivotal question of how and why the instrumental uses of
invasive software by corporations and government agencies
contribute to social change. Through a critical communication and
media studies lens, the book focuses on the struggles of breaking
and defending the "trusted systems" underlying our everyday use of
technology. It compares the United States and the European Union,
exploring how cybersecurity and hacking accelerate each other in
digital capitalism, and how the competitive advantage that hackers
can provide corporations and governments may actually afford new
venues for commodity development and exchange. Presenting prominent
case studies of communication law and policy, corporate hacks, and
key players in the global cybersecurity market, the book proposes a
political economic model of new markets for software
vulnerabilities and exploits, and clearly illustrates the social
functions of hacking.
With the rising popularity of online music, the nature of the music
industry and the role of the Internet are rapidly changing. Rather
than buying records, tapes, or CDs_in other words, full-length
collections of music_music shoppers can, as they have in earlier
decades, purchase just one song at a time. It's akin to putting a
coin into a diner jukebox_except the jukebox is in the sky, or,
more accurately, out in cyberspace. But has increasing copyright
protection gone too far in keeping the music from the masses?
Digital Music Wars explores these transformations and the
far-reaching implications of downloading music in an in-depth and
insightful way. Focusing on recent legal, corporate, and
technological developments, the authors show how the online music
industry will establish the model for digital distribution,
cultural access, and consumer privacy. Music lovers and savvy
online shoppers will want to read this book, as will students and
researchers interested in new media and the future of online
culture.
Musicians and music fans are at the forefront of cyberliberties
activism, a movement that has tried to correct the imbalances that
imperil the communal and ritualistic sharing and distribution of
music. In Music and Cyberliberties, Patrick Burkart tracks the
migration of music advocacy and anti-major label activism since the
court defeat of Napster and the ascendancy of the so-called
Celestial Jukebox model of music e-commerce, which sells licensed
access to music.
Music and Cyberliberties identifies the groups--alternative and
radical media activists, culture jammers, hackers, netlabels, and
critical legal scholars--who are pushing back against the
"copyright grab" by major labels for the rights and privileges that
were once enjoyed by artists and fans. Burkart reflects on the
emergence of peer-to-peer networking as a cause celebre that helped
spark the movement, and also lays out the next stages of
development for the Celestial Jukebox that would quash it. By
placing the musical activist groups into the larger context of
technology and new social movement theory, Music and Cyberliberties
offers an exciting new way of understanding the technological and
social changes we confront daily.
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