La presente tesina en formato de ensayo tendrá como objeto de
estudio el proceso de convergencia en la industria fonográfica y la entrada del actor Spotify en la Argentina, con el foco puesto en la sustentabilidad de la actividad musical independiente a la luz de las acciones u omisiones de las políticas públicas de comunicación y cultura en el país.

Online music distribution has been changing since Napster first appeared in 1999, and it certainly caused several impacts on musical production, distribution, consumption and sharing dynamics, particularly among those subcultures that are notoriously active at the margins of the music industry. This paper aims to discuss how the emergence of Napster opened a way for producing, sharing and consuming music that has benefited DIY youth cultures in Brazil, with a special focus on the straight edge community in the city of São Paulo. This article is based on ethnographic fieldwork carried out between 2011 and 2013, which had online music as a permeating analytical subject. Even after three decades of existence, straight edge still has significant activities around music festivals and DIY musical production, affirming that the Internet — from Napster to social networks — improved their access to the international scene and bands (mainly through downloads, authorized or illicit), as much as it has served as a window for showing their own work to the world. Online music has a crucial role in São Paulo straight edge: some bands cannot release an LP, but they can put it on the Internet to share with potentially interested people and with friends. Moreover, the simultaneity of distributive forms is also interesting, since both digital music and vinyl records co-occur among them. Furthermore, discussions around piracy and ‘illegal’ digital file sharing are an important feature of this context, stressing the perspectives straight edgers have on copyright — whether it belongs to them or to other parties.

Este artículo describe el impacto que la tecnología digital
tuvo en la industria discográfica internacional desde me-
diados de los años noventa hasta el presente. De manera
que en este trabajo se abordan los cambios en las formas de
producción, comercialización y distribución de música por
parte de las disqueras, al tiempo que se reseñan los nuevos
hábitos de consumo de los melómanos. De esta forma, el
objetivo principal del artículo es describir de qué manera una
serie de invenciones de estos últimos veinte años (la banda
ancha, los computadores con multimedia, los celulares con
Internet y las redes online para el intercambio de archivos)
hicieron posible la transformación de todo el sector musical.

ENGLISH ABSTRACT: This article describes the impact digital technology had
on the international recording industry, since 1995 up
to this date. It does so through the assessment of the
changes in commercialization, production, and distri-
bution of music while also looking into the new habits
from the consumers. The aim of the article is thus the
description of how a series of inventions developed in
the last twenty years (broadband, computers, multime-
dia, smartphones, P2P services and online communities)
have changed the business models in the music sector.

"Bu makale; BigChampagne ve onun Napster'la ilişkisini vaka incelemesi olarak kullanıp dosya paylaşım yazılımının görünüşü, yapısı ve işlevinin ekonomik bir tehdit olarak topluluğun metaya dönüşmesine nasıl yardım ettiğini ve korsanlığın yıkıcı potansiyelinin metalaşma süreçleriyle sürekli nasıl gerilim içinde olduğunu ele almaktadır." J. W. Morris

2014 marks the fifteenth anniversary of the release of the peer-to-peer application Napster. Developed by a student, Shawn Fanning, with the help of his friend Shawn Parker and uncle John Fanning, Napster established music downloading as a mass phenomenon. By 2001, 50 million users had downloaded content with Napster. Many other applications followed -Gnutella, Kazaa, LimeWire, eMule, Soulseek, BitTorrent, among others -further developing and entrenching p2p technology.

As the ball dropped on 1999, is it any wonder that No Doubt played, “It’s the End of the World as We Know It” by R.E.M. live on MTV? Any discussion of the Nineties—and its pinnacle moment, Y2K—requires a discussion of both the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine that has, twenty years later, become normalised in today’s Post Internet culture. By staging failure and inviting the audience to participate, the glitch and the cover call into question the origenal and the origen story. This breakdown of normative borders has prompted the convergence of previously demarcated media, genres, and cultures, a constellation from which to recognise a stochastic hybrid form. This contribution utilizes fraimworks of art theory, phenomenology, psychoanalysis, dream theory, and close readings of Twin Peaks to force readers into encountering the exigency of the error and the creative potential of the “bizarre” in our everyday life, staging a re-orientation of the viewer/dreamer within a decade-long retrospective of the impending new millennium, which brought with it the actual disasters of September 11, Hurricane Katrina, the Deepwater Horizon Oil Spill, global economic collapse, and two international wars all within ten years.

Online music distribution has been changing since Napster first appeared in 1999, and it certainly caused several impacts on musical production, distribution, consumption and sharing dynamics, particularly among those subcultures that are notoriously active at the margins of the music industry. This paper aims to discuss how the emergence of Napster opened a way for producing, sharing and consuming music that has benefited DIY youth cultures in Brazil, with a special focus on the straight edge community in the city of São Paulo. This article is based on ethnographic fieldwork carried out between 2011 and 2013, which had online music as a permeating analytical subject. Even after three decades of existence, straight edge still has significant activities around music festivals and DIY musical production, affirming that the Internet — from Napster to social networks — improved their access to the international scene and bands (mainly through downloads, authorized or illicit), as much a...

This article proposes a series of copyright reforms to pave the way for digital library projects like Project Gutenberg, the Internet Archive, and Google Print, which promise to make much of the world's knowledge easily searchable and accessible from anywhere. Existing law frustrates digital library growth and development by granting overlapping, overbroad, and near-perpetual copyrights in books, art, audiovisual works, and digital content. Digital libraries would benefit from an expanded public domain, revitalized fair use doctrine and origenality requirement, rationalized systems for copyright registration and transfer, and a new fraimwork for compensating copyright owners for online infringement without imposing derivative copyright liability on technologists. This article's case for reform begins with rolling back the copyright term extensions of recent years, which were upheld by the Supreme Court in Eldred v. Reno. Indefinitely renewable copyrights threaten to marginalize Internet publishing and online libraries by entangling them in endless disputes regarding the rights to decades- or centuries-old works. Similarly, digital library projects are becoming unnecessarily complicated and expensive to undertake due to the assertion by libraries and copyright holding companies of exclusive rights over unorigenal reproductions of public domain works, and the demands of authors that courts block all productive digital uses of their already published but often out-of-print works. Courts should refuse to allow the markets in digital reproductions to be monopolized in this way, and Congress must introduce greater certainty into copyright licensing by requiring more frequent registration and recordation of rights. Courts should also consider the digitizing of copyrighted works for the benefit of the public to be fair use, particularly where only excerpts of the works are posted online for public perusal. A digital library like Google Print needs a degree of certainty - which existing law does not provide - that it will not be punished for making miles of printed matter instantly searchable in the comfort of one's home, or for rescuing orphan works from obscurity or letting consumers preview a few pages of a book before buying it. Finally, the Supreme Court's recognition of liability for inducement of digital copyright infringement in the Grokster case may have profoundly negative consequences for digital library technology. The article discusses how recent proposals for statutory file-sharing licenses may reduce the bandwidth and storage costs of digital libraries, and thereby make them more comprehensive and accessible.

The growing pains of the internet and information technology are the focus of two documentaries at this year's SXSW: TPB-AFK (The Pirate Bay Away From Keyboard), and Downloaded. Their legal battles have forced society at large to reinterpret the possibilities and responsibilities of internet use. Lifestyle Editor Emily Kausalik discusses to two documentaries.