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Peers, Pirates, and Persuasion: Rhetoric in the Peer-to-Peer Debates investigates the role of rhetoric in shaping public perceptions about a novel technology: peer-to-peer file-sharing networks. While broadband Internet services now allow speedy transfers of complex media files, Americans face real uncertainty about whether peer-to-peer file sharin...
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In the age of digital technology, perfect copies of sound recordings may be easily made and shared in violation of copyright law. Music piracy in the form of illegal downloading is a worldwide phenomenon that has a significant impact on the music industry. In response to the perceived threat to the music industry, lawsuits have been filed in the Un...
Citations
... Τα δίκτυα αυτά εξασφαλίζουν την ευκολία εύρεσης και ελευθερία ανταλλαγής αρχείων μεταξύ των χρηστών, παρά το γεγονός ότι αυτό απαγορεύεται από τους νόμους περί πνευματικής ιδιοκτησίας (Subramanian R. 2004). Τελευταία, η ανάπτυξη των ευρυζωνικών συνδέσεων συνέβαλε στη ραγδαία αύξηση των ομότιμων δικτύων (Logie, 2006). ...
Πολύωρο διδακτικό σχέδιο εργασίας στην Κοινωνική και Πολιτική Αγωγή Έκτης Δημοτικού με τη χρήση των Τ.Π.Ε.
Το σενάριο διδασκαλίας είναι ενσωματωμένο στα πρακτικά του 8ου Συνεδρίου με τίτλο: "ΤΟ ΨΗΦΙΑΚΟ ΣΧΟΛΕΙΟ" (2011)
https://www.openbook.gr/8o-panellinio-synedrio-eeep-dtpe/
... The study of the so-called copyright wars is well established at this point, with particular focus on legal rhetoric, political lobbying, intra-and interindustry disputes, and on antipiracy campaigns aimed at consumers and even schoolchildren. Recently, several scholars have studied the Swedish Pirate movement as a social movement (Andersson 2011;Burkart, 2014;Lindgren & Linde, 2012;Lindgren & Lundström, 2011), and others have specifically analyzed the rhetoric of piracy, file sharing, and copyright reform advocates (John, 2014;Lindgren, 2013;Logie, 2006). This article contributes to this body of work. ...
This article analyzes how the groups of the Swedish Pirate movement (specifically the Piratbyran, The Pirate Bay, the Missionerande Kopimistsamfundet, and the Piratpartiet) use dialogical comedy to counter the rhetoric of the copyright lobby. By appropriating the discourse, slogans, and even names of pro-copyright groups, the Swedish groups position themselves as the natural respondents to antipiracy campaigns. This positioning helps them to publicize onerous copyright legislation and prompt discussion on infringement, free speech, and digital rights. The reclamation of the term piracy and the subversive doubling of antipiracy rhetoric in parody, irony, and satire allows for the resignification of piracy and the recontextualization of incorrect and alarmist statements by industry representatives. As a rhetorical strategy, dialogic comedy counters hegemonic discourse, facilitates social learning, and inaugurates debate and dialogue.
... Even the term "piracy," which is sometimes used in respect of file-sharing networks, is ambiguous -as John Logie (2006) convinces, the meaning of this word was shaped in an era when copying and redistribution of original content was primarily an organized profit-oriented practice. Today, files are usually downloaded through "user-generated content" -though the word "generated" sounds ironically here -i.e. ...
Television content – mostly American productions – circulates among Polish Internet users. The article analyzes the increase in the scale of re-production of audiovisual content among large groups of the Polish network society. The growth in “peer re-production” constitutes an “extended culture industry.” The case of Poland is studied with quantitative audience research and survey research. The growth in the use of streaming websites providing free access to audiovisual content is explained in terms of the Polish local history of “piracy,” ongoing global processes and the generation gap.
... Even the term "piracy," which is sometimes used in respect of file-sharing networks, is ambiguous -as John Logie (2006) convinces, the meaning of this word was shaped in an era when copying and redistribution of original content was primarily an organized profit-oriented practice. Today, files are usually downloaded through "user-generated content" -though the word "generated" sounds ironically here -i.e. ...
O treściach telewizyjnych i ich internetowej redystrybucji w europeizującej się i globalizującej Polsce - w kategoriach "peer re-production" i "extended culture industry"
... The idea that file sharing is not really sharing also can also be found in academic writings, such as those of economist Stan Liebowitz, who makes the point that ''[i]ndividuals do not 'share' the files that are moved back and forth on the Internet'' (Liebowitz, 2006, p. 4). In a similar vein, in his book on the rhetoric of peer-to-peer debates, professor of rhetoric, John Logie (2006) argues that ''[t]he uncritical maintenance of 'sharing' as an overarching metaphor for peer-to-peer file transfers distorts the debate,'' urging advocates of peer-to-peer technologies to ''acknowledge that peer-to-peer transfers are not a form of 'sharing' as the term is conventionally understood'' (p. 100). ...
Attempts by the state and the entertainment industry to impose the term “piracy” on practices of digital file sharing have been challenged by academics and activists alike. The notion of “file sharing,” however, seems to have escaped our attention. By placing that term in the context of the history of computing, where sharing of different kinds has always been a central feature, and by drawing on a nuanced understanding of the many meanings of “sharing,” this article shows that “file sharing,” unlike “piracy,” is a bottom-up term that has emerged from the field itself. The article shows that those who oppose the term “file sharing” certainly have good strategic reason to do so: sharing is by definition a positive social value and bestows a warm glow upon that which it touches. It is argued, though, that we should not allow the “war on piracy” metaphor to gain the ascendancy—not only because “piracy” is a such a negative term, and not only for strategic reasons, but also, and mainly, because when we call file sharing “file sharing” we are issuing a critical challenge to the current copyright regime.
... Organizations such as the Motion Picture Association of America (MPAA) and the Recording Industry Association of America (RIAA) in the United States, and the BPI (formally the British Phonographic Industry) and the Federation Against Copyright Theft (FACT) in the UK, alongside innumerable other bodies across the world, have sought to fix the deviant status of copyright violation by fostering associations between file-sharing and just about every kind of negative, amoral and immoral practice imaginable. Sidestepping the complex status of copyright law and contradictory evidence relating to the impact of file-sharing on the media industries, the narratives they have produced have sought to fix the illicit status of file-sharing through favourable simplifications of copyright law and via the association of copyright infringement with an array of other practices that are more generally regarded as unacceptable (Gillespie, 2009; see also Gates, 2006;Halbert, 1997b;Logie, 2006;Yar, 2008 for analyses of anti-piracy campaigns/rhetoric). Repeatedly, attempts to connect file-sharing to other illicit/illegal activities (such as terrorism, human trafficking, commercial piracy, drug dealing, and even student plagiarism) have been undermined by the tenuous fit between file-sharing and the criminal activities cited. ...
... Stepping on to the path opened up by free software movement it was not long before open source music production started to emerge, firstly in the form of amateur composers' royalty free music, and later by involvement of more and more bands and musicians. All of these changes and developments were taking place within the course of only a decade or two, and as music piracy started to boom, the academy too started to flourish with publications devoted to the theme of illegal music sharing and copyright issues, covered from very different perspectives, such as consumption, legal theories, distribution technologies, debate rhetoric, and cyber-liberties, to name only few (Jones 2002;Marshall 2004;Leyshon et al. 2005;Hinduja 2006;Logie 2006;Rimmer 2007;Fairchild 2008;Burkart 2010;David 2010;Pitt 2010;Ericsson 2011). Both within the academy, and the general debates themselves, the main emphasis of many studies was always on Western countries and musicians residing within them, and little was said about developing ones. ...
This article focuses on copyleft music production in Turkey through a case study on Bandista, a music collective with strong oppositional stance formed in 2006 in Istanbul. Describing its musical performances as "situationist experiment of rage and rapture" Bandista became immensely popular in the Turkish political music scenery after releasing its debut album De te fabula narratur in 2009 under the copyleft scheme. The article tries to look at the copyleft with the notion of 'music as performance' in mind, and argues that copyleft politics are essential, especially for new music bands to form themselves as independent actors within the music scene.
... Stepping on to the path opened up by free software movement it was not long before open source music production started to emerge, firstly in the form of amateur composers' royalty free music, and later by involvement of more and more bands and musicians. All of these changes and developments were taking place within the course of only a decade or two, and as music piracy started to boom, the academy too started to flourish with publications devoted to the theme of illegal music sharing and copyright issues, covered from very different perspectives, such as consumption, legal theories, distribution technologies, debate rhetoric, and cyber-liberties, to name only few (Jones 2002;Marshall 2004;Leyshon et al. 2005;Hinduja 2006;Logie 2006;Rimmer 2007;Fairchild 2008;Burkart 2010;David 2010;Pitt 2010;Ericsson 2011). Both within the academy, and the general debates themselves, the main emphasis of many studies was always on Western countries and musicians residing within them, and little was said about developing ones. ...
This article focuses on 'copyleft' music production in Turkey through a case study on Bandista, music collective with strong oppositional stance formed in 2006 in Istanbul. Describing its musical performances as "situationist experiment of rage and rapture" Bandista became immensely popular in Turkish political music scenery after releasing its debut album De te fabula narratur in 2009 under the 'copyleft' scheme. Article tries to look at the 'copyleft' with the notion of 'music as performance' in mind, and argues that 'copyleft' politics are essential especially for new music bands to form themselves as independent actors within the music scene.
... Bauwens discusses peer-to-peer practices not only as a technological advance but also as a general shift toward collectivity deeply transforming the fundamentals of social life (Bauwens 2005(Bauwens , 2010. Metaphoric frames such as warfare, theft, piracy, sharing, and hacking, that dominate the peer-to-peer debate and demonstrably shape public policy on the use and exchange of digital media are discussed in recent works (Logie 2006). ...
A digital social economy is emerging. Collective efforts to collectivize digital content management in a public‐benefit‐oriented manner increasingly undertake official organizational form. This institutionalization of networking in the cyberspace opens up novel potentials for knowledge dissemination, service provision and democratic governance. Institutional regulations, social practices, economic interests and technological advances co‐evolve toward the innovative web 3.0 where computer applications become increasingly capable of correlating data to meaningful knowledge. The aim of this article is to highlight the dynamics toward a digital social economy enhanced by technological innovations in the cyberspace.
... The debates about digital copyright are as much a battle of language as they are of material resources or political alliances. (Halbert, 1997b;Litman, 2004;Logie, 2006;Spitz & Hunter, 2005) Children are only the latest battleground for this war of words. Industry representatives, legislators, and cyberactivists have long tried to narrate the problem, such that their preferred solutions come to seem logical, desirable, and inevitable. ...
... The pirate is obviously never made a viable role to inhabit; rather, it is carefully narrated as a violation, not just of the law but also of music fanhood and youth culture. This is part of the broader discursive effort around the term ''pirate'' noted by Denegri-Knott (2004), Litman (2000, and Logie (2006) and the similar work of Halbert (1997a) and Nissenbaum (2004) around the term ''hacker,'' what Halbert (1997b) calls the ''narrative construction of deviance.'' Many of the antipiracy campaigns construct a diametric opposition between fan/consumer and pirate, to convince kids not only that they should want to be one rather than the other, but that they cannot be both. ...
To curb unauthorized downloading, the major media corporations have developed education campaigns aimed at children. This essay interrogates these campaigns in terms of their characterization of copyright law and online infringement. Their lessons tend to recast a balance of societal interests as a simple obligation of respect. File trading is painted in moral terms of right and wrong. Moreover, these campaigns perpetuate industry-centric ideas of what copyright is for and how technology is meant to be used. In the process they reaffirm traditional hierarchies of cultural production and reify the long-standing distinction between producer and consumer—far from neutral assertions in the current debates about cultural policy, and that work against the tide of emerging forms of creativity and collaboration.
