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.
Online communities who use peer-to-peer and Web 2.0 technologies to interact with the digital music produced by major recording labels, are often blamed for the industries’ suffering profitability. This paper will argue that at a time when the industry is struggling to evolve its business model to keep up with the trends of consumers, members of virtual communities using Web 2.0 technologies to discuss, share, and remix digital music with an aim of gaining social capital, have in fact revealed a new method to promote and distribute recorded music. This is a model that should be adopted by the greater recorded music industry for it to thrive, despite the threat to profits posed by any infringement of copyright. The following will define social capital, discuss why people share music and offer examples of artists who use community-based consumer experiences to their advantage.
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.