These ‘new’ laws will do little to curb file sharing. We’re talking about 0’s & 1’s here

Today the Australian Senate passed a bill to allow copyright owners to seek a court injunction to force internet service providers to block overseas ‘piracy websites’.

You can read about it on The Australian’s website. The story is located here.

While I agree that profiting from file sharing or purposefully avoiding paying a fair price for a product that is freely available for purchase is wrong, these ‘new’ laws will do little to curb file sharing. We’re talking about 0’s & 1’s here.

The digitisation of music and its convergence with participatory culture online has led to a total shift in the way we interact with, and consume music in our everyday lives.

Distrust of new technology is nothing new. In 2009 Greg Kot wrote; “Phonographs were seen as a threats to live music at the turn of the twentieth century: if consumers could get music at home, what incentive would there be to go out and see a show or an opera? Radio was going to kill the phonograph in the 1930’s: if listeners could access music for free over the broadcast airwaves what need would they have to buy records? The introduction of the cassette and home taping was going to undermine the business in the 1980s; Why would you buy an album when you could record your friends copy?”

The music industry has feared and eventually embraced and profited from new technologies to create, produce and disseminate product since the phonograph. And it will do it again.

We’re experiencing a very exciting time in the evolution of communication here. We need to embrace it.

I truly do feel for those who have lost income from file sharing. I do. But unfortunately the industry has yet to fully embrace the internet in the same why they did Phonographs, Radio, cassettes and compact discs.Napster existed way before the first online music store. That’s a fail for the industry.

In 2010 Patrik Wikström wrote a book called, The Music Industry: Music in the Cloud. In the book he wrote; “Participatory culture is a trend pushed from the consumers desire to be creative and social”. That desire isn’t going away and neither is the access to the tools to fulfil it.

The mechanics of internet based communication and the world wide web mean that copies are made. Some people share those copies. We need to get over it, and stop playing wack-a-mole.  The only way you’ll stop all online file sharing is to pull the plug on consumer access to the internet. Do we really want to kill the most amazing communication technology we’ve ever seen?

The last point I want to make is that the music industry is not alone. Photographers, writers, designers, developers, directors… We’re all experiencing change, and we can learn from each other.

These are exciting times.

Filter the internet: Routing around our moral obligation.

If individuals retain a moral obligation to filter the inappropriate material accessible to children online in the same way they have done for off line material, society as a whole could achieve what legislation has failed to do; control what our children see and post online. If this new moral paradigm is achieved we can provide safe environments for our children online without the need for government intervention and tight legislative controls. For this to occur though, we must first assess the data surrounding our fears and desires for control of online environments, and seek a better accord of how the internet acts as intermediary for offline behaviors.  This essay will focus on the social desire to filter pornography and other material deemed inappropriate for children, because child protection issues are often the point of convergence between freedom, as promoted by the anti-censorship movement, and of the control trumpeted as necessary by the pro-filter lobby.

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The new digital

The digitization of music and its convergence with the participatory culture online has led to a total shift in the way we interact with, and consume music in our everyday lives. Due to this evolving convergence of digital music and broad access to relatively inexpensive networked device technology, any one can now create, market, discover, store and playback music via the internet. With a focus on the dissemination of digital music online and the reception of fans and major record labels to a new digital distribution model, this essay will argue that music as a medium was perfectly suited for online distribution, ultimately became a major force for activating participation on the internet and still remains a profitable product in an environment of peer-to-peer music sharing.

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Online collaboration; what’s in it for me?

Individuals’ motivations define group collaborations. This essay will argue that motivation is what drives users to collaborate online, and ultimately decides the type of community they choose to collaborate with. With a focus on the concept of Communities of Practice (CoP), this paper will explore the reasons why different forms of online collaboration and organisation appear to be similar in nature, but are ultimately divergent.

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The internet, and the perception of free.

August 30, 2012

Capitalism controls the internet, although to what degree the internet is free to an individual user depends on their perspective, the tools used for access and how they spend their time online. This essay will question the real cost of accessing the internet, and the economy surrounding our choices when it comes using it. It will argue that the real value of e commerce, and the individual cost to internet users, cannot be measured only in a monetary from, but by the value generated by engaged parties within the synergistic knowledge, gift and attention economies found in many online environments.

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Scaling the walls of personalised curation

Curation is the art of telling a story.  As soon as a piece of content attracts a title, comment or reference to another work, it has been curated (Shott, 1996). This essay will argue that online, curation is too often used as a tool of expedient initiation and personalisation, which leads to data lockout, and walled information ecologies that are hard to navigate. This paper will discuss the pitfalls of allowing the content we interact with, produce and consume to be curated for us, rather than curating it for ourselves.

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