INTRODUCTION: LEGAL FORM AND CULTURAL SYMBOL Music, copyright, and information and communications studies
Authors: Kretschmer, M. and Pratt, A.C.
Journal: INFORMATION COMMUNICATION & SOCIETY
Volume: 12
Issue: 2
Pages: 165-177
eISSN: 1468-4462
ISSN: 1369-118X
DOI: 10.1080/13691180802459930
https://eprints.bournemouth.ac.uk/9251/
Source: Web of Science (Lite)
Introduction: Legal Form and Cultural Symbol – Music, Copyright and Information Studies
Authors: Kretschmer, M. and Pratt, A.
Journal: Information, Communication and Society
Volume: 12
ISSN: 1369-118X
Abstract:Writers in information and communication studies often assume the stability of objects under investigation: network nodes, databases, information. Legal writers in the intellectual property tradition often assume that cultural artefacts exist as objects prior to being governed by copyright law. Both assumptions are fallacious. This introduction conceptualises the relationship of legal form and cultural symbol.
Starting from an understanding of copyright law as part of systems of production (in the sense of Peterson 1976), it is argued that copyright law constructs the artefacts it seeks to regulate as objects that can be bought and sold. In doing so, the legal and aesthetic logic of cultural symbols may clash, as in the case of digital music (the central focus of this special issue).
https://eprints.bournemouth.ac.uk/9251/
Source: Manual
Introduction: Legal Form and Cultural Symbol – Music, Copyright and Information Studies
Authors: Kretschmer, M. and Pratt, A.
Journal: Information, Communication and Society
Volume: 12
Issue: 2
ISSN: 1369-118X
Abstract:Writers in information and communication studies often assume the stability of objects under investigation: network nodes, databases, information. Legal writers in the intellectual property tradition often assume that cultural artefacts exist as objects prior to being governed by copyright law. Both assumptions are fallacious. This introduction conceptualises the relationship of legal form and cultural symbol.
Starting from an understanding of copyright law as part of systems of production (in the sense of Peterson 1976), it is argued that copyright law constructs the artefacts it seeks to regulate as objects that can be bought and sold. In doing so, the legal and aesthetic logic of cultural symbols may clash, as in the case of digital music (the central focus of this special issue).
https://eprints.bournemouth.ac.uk/9251/
Source: BURO EPrints