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It is apparent that file sharing on the Internet has become an emerging norm of media consumption-especially among young people. This book provides a critical perspective on this phenomenon, exploring issues related to file sharing, downloading, peer-to-peer networks, "piracy," and (not least) policy issues regarding these practices. Andersson Schwartz critically engages with the justificatory discourses of the actual file-sharers, taking Sweden as a geographic focus. By focusing on the example of Sweden-home to both The Pirate Bay and Spotify-he provides a unique insight into a mentality that drives both innovation and deviance and accommodates sharing in both its unadulterated and its compliant, business-friendly forms.
Peer-to-peer architecture --- Computer file sharing --- Social media
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Online social networks --- Image files --- Computer file sharing --- Photography
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Photography --- Computer file sharing. --- Image files. --- Digital techniques. --- Instagram (Firm)
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Copying --- Copying --- Copying --- Copyright. --- Copyright --- Computer file sharing --- Computer file sharing --- Economic aspects. --- Law and legislation. --- Fair use (Copyright). --- Economic aspects. --- Law and legislation. --- Economic aspects.
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Information technology --- Computer file sharing --- Cultural industries. --- Property. --- Intellectual property. --- Capitalism. --- Economic aspects.
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Le prix Nobel d'économie Milton Friedman l'a dit clairement : « un repas gratuit, ça n'existe pas ». Pourtant, le web semble remettre en cause cet axiome puisqu'il permet aux internautes d'accéder, sans dépense apparente, à une multitude de biens culturels. Que vaut cette gratuité numérique ? Faut il dans la continuité du rapport Lescure proposer une légalisation des échanges non marchands ? L'ouvrage explore ces notions et analyse trois secteurs qui constituent les principaux produits d'appel du marché de l'internet : l'audiovisuel, la musique et le livre. L'analyse des revenus que Spotify ou DpStream, iTunes ou Usenet, LastFM ou Popcorn, VLC ou Shazam, et bien d'autres encore, tirent de la circulation des biens culturels permet de comprendre leur place dans l'économie numérique. Derrière une même apparence de gratuité pour l'internaute, les modèles proposés ont des conséquences bien différentes. L'internaute devra lui aussi en payer le prix, sous forme directe ou indirecte, aujourd'hui ou demain tandis que les modalités de partage de valeur entre les acteurs économiques sont amenées à évoluer
Computer file sharing --- Creation (Literary, artistic, etc.) --- Intellectual property --- Information society --- Economic aspects --- Social aspects --- Industries culturelles --- Internet --- Gratuité --- Économie numérique --- Culture --- Médias numériques --- Webdiffusion --- Achats sur Internet --- Aspect économique --- Industries culturelles. --- Gratuité. --- Économie numérique. --- Achats sur Internet. --- Aspect économique. --- Aspect économique. --- Computer file sharing - Economic aspects --- Computer file sharing - Social aspects --- Creation (Literary, artistic, etc.) - Social aspects --- Creation (Literary, artistic, etc.) - Economic aspects --- Intellectual property - Social aspects --- Intellectual property - Economic aspects
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Digital communications --- Video recordings --- Computer file sharing --- Information technology --- Interactive computer systems --- Social aspects. --- Social aspects. --- Social aspects. --- Social aspects. --- Social aspects.
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Copyright --- Computer file sharing --- Peer-to-peer architecture (Computer networks) --- Copyright infringement --- Intellectual property --- Music --- Law and legislation --- Grokster (Firm) --- Metro-Goldwyn-Mayer.
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