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Piracy and Social Change-Revisiting Piracy Cultures Editorial Introduction
Abstract
This article introduces the contributions to this special section of the journal, frames the scope of contemporary digital piracy research in the social sciences and humanities, and relates the research project to neighboring fields in communication and media studies.
... No que respeita às representações construídas pelos participantes sobre a partilha, os indivíduos com perfis de comunicadores em rede destacam-se, em relação aos restantes dois perfis, pois são aqueles os participantes que mais assumem usar conteúdos partilhados e recorrer à partilha de conteúdos, independentemente da sua partilha ser considerada legal ou de assentar numa informalidade da troca Burkart e Schwarz, 2015;Lobato e Julian, 2012). ...
Este é um livro dedicado à interpretação e descodificação do que é a comunicação da comunicação. De como a nossa forma de comunicar está a moldar as nossas instituições, como a mediação moldou a nossa comunicação e a rede transformou a comunicação de massas numa comunicação em rede e a cultura de massas numa cultura mediatizada. Criando, nesse processo, um novo sistema dos media e um novo paradigma comunicacional.
Este é um livro sobre a necessidade de uma sociologia da mediação algorítmica que explique porque é que numa cultura mediatizada, gerada por uma comunicação em rede, as pessoas são a mensagem e porque o seu traço mais distintivo reside na comunicação da comunicação.
This article presents a socio-cultural study of user-generated translation (UGT) mediated by YouTube, a video-sharing platform and a social network. It discusses the issues of the theoretical and methodological framing of UGT and online social media (OSM) research. The reported study attempts to uncover the mechanisms which engender and foster a new type of audiovisual-translation practice, specific to OSM. To do this, it employs the explanatory power of Pierre Bourdieu's concepts of field, habitus and capital reframed for digital-media research. The empirical investigation concentrates on the phenomenon of translation-focused YouTube channels featuring user-generated or informal Russian-language voiceover renditions and versions of popular YouTube content with embedded subtitles. Based on longitudinal observation of the ten most popular UGT-focused channels, the study maps the user-translators' practices onto the structure of the online field. It uncovers a close link between translation and a YouTube-specific struggle for legitimization of derivative or remixed content. It also tracks how the pursuit of attention capital (measured in video views, comments and channel subscriptions) defines the strategies of user-translators as agents in the platform-wide online field. It is argued that translating already popular English language content serves as a springboard for user-translators who eventually start producing their own original, non-translated content.
This article explores three entrepreneurial ventures that have evolved in proximity to online piracy. In reviewing the respective cases of Spotify, Skype, and The Pirate Bay, the argument outlines the radically divergent strategies with which the entrepreneurs have sought to legitimise their ventures and underlying technologies. The article concludes that: 1) the context of practices labelled 'pirate' are paradigmatic examples of fields in which entrepreneurs must work exceptionally hard to legitimise themselves; 2) in this context, it is crucial that the role of law is analytically isolated from the role of institutionalised legitimacy; 3) success in legitimisation is largely dependent upon the entrepreneur's ability to demonstrate that the venture is governed by 'the natural order' of the economy. It is further argued that piracy-proximate ventures may contribute to the entrepreneurship field, inasmuch as they teeter on the border of being considered too disruptive, and thus suffer from a 'liability of politicalness'.
Over a decade after Napster’s introduction, file sharing programs still shoulder much of the blame for music and other media’s declining sales. Although labels and industry associations point their fingers at the harm digital piracy and file-sharing cause, they are less likely to admit the extent to which these anti-markets inform everyday decisions. File-sharing technologies create networks of users that serve as profitable data for ratings and metrics agencies. Using a case study of BigChampagne and its relationship to Napster, this article considers how the look, structure, and function of file-sharing software helped turn an economically threatening community into a commodity and how piracy’s disruptive potential is always in tension with processes of commodification.