::: Copyright, Music Media & Capital :::


::: Books :::


Arvidsson, Adam “Brands: Meaning and Value in Media Culture“. New York: Routledge, 2006 

Bernardo Attias, Anna Gavanas, Hillegonda Rietveld 2013 “DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music” 

Ayers, Michael D. 2006. “Cybersounds: Essays On Virtual Music Culture”. New York: Peter Lang. (afterword)

Cummings, A.S. “Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century” 2013 (no copy)

Dyer-Witheford, Nick “Cyber-Marx: Cycles and Circuits of Struggle in High Technology Capitalism” 1999 (pdf)

Harper, Adam “Infinite Music: Imagining the Next Millennium of Human Music-Making” Zero Books, 2011,(epub)

Jenkins, Ford & Green “Spreadable Media: Creating Value and Meaning in a Networked Culture (Postmillennial Pop)” 2013 (introduction)

Kernfield, B. “Pop Song Piracy: Disobedient Music Distribution since 1929” 2011 (no copy)

Knopper, S. “Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age” 2009

Kot, G. “Ripped: How the Wired Generation Revolutionized Music” 2009

Kusek & Leonhard “The Future of Music: Manifesto for the Digital Music Revolution” 2005 (no copy)

Leloup, Jean-Yves “Digital magma: from the utopia of rave parties to the iPod generation” 2010

Mason, Matt The Pirate’s Dilemma How Youth Culture is Reinventing Capitalism, Free Press, New York, NY, 2008

Papacharissi, Zizi (editor) “A Networked Self: Identity, Community, and Culture on Social Network Sites” 2010 (pdf) 

Sterne, J “MP3: The Meaning of a Format (Sign, Storage, Transmission) “ 2012 

Suisman, D. “Selling Sounds: The Commercial Revolution in American Music” 2012

Turino, Thomas “Music as Social Life: The Politics of Participation” 2008 

White, B. “Music and Globalization: Critical Encounters “ 2011 (no copy)


REGRETTE etcetera


::: Articles & Chapters :::


Barbrook, Richard “The Hi-Tech Gift Economy” First Monday Vol. 3, Number 12, 7 December 1998

Böse, Martina “Difference And Exclusion At Work In The Club Culture Economy” International Journal of Cultural Studies December 2005 vol. 8 no. 4 427-444 

Butler, Mark J. 2005. “Everybody Needs a 303, Everybody Loves a Filter‘: Electronic Dance Music and t Aesthetics of Obsolescence.” In Digital Media: Transformations in Human Communication, edited by Paul Messaris and Lee Humphreys. New York: Peter Lang, 111-18.

Cammaerts, Bart “From vinyl to one/zero and back to scratch: 
independent Belgian micro labels in search of an ever more elusive fan base” Media@LSE Electronic Working Paper Series, Number 20, 2010 (pdf) 

Cascone, Kim. 2000. “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music” Computer Music Journal 24(4), 12-18 

Cascone, Kim. 2002. “Laptop Music—Counterfeiting Aura in the Age of Infinite Reproduction.” Parachute 10 60. 

Dean, Jodi. 2005. “Communicative Capitalism: Circulation and the Foreclosure of Politics”. Cultural Politics: an International Journal 1, no. 1 (March)

Dyer-Witheford, Nick “Digital labour, species-becoming and the global worker” Ephemera 2010 vol. 10(3/4): 484-503 (pdf)

Essl, George “On gender in new music interface technology” 

Fuchs, Christian. 2013. ‘Class and exploitation on the Internet.’ In “Digital labor. The Internet as playground and factory”

Galuszka, Patrick, “Netlabels and democratization of the recording industry” first monday, Vol. 17, Issue 7, 2012 (epub) 

Goldmann, Stefan “Everything popular is wrong: Making it in electronic music, despite democratization” Little White Earbuds 2011

Goodwin, Andrew. 1988. “Sample and Hold: Pop Music in the Digital Age of Reproduction.” Critical Quarterly 30: 34-49.

Hesmondhalgh, David. 2006. “Digital Sampling and Cultural Inequality.” Social Legal Studies 15(1), 53-7  

Kreiss, Finn & Turner “The limits of peer production: Some reminders from Max Weber for the network society” new media & society 13(2) 243–259 2011 

Lin, Tan, “Disco as Operating System, Part 1” Criticism, Vol. 50, Issue 1, 2008 (epub) 

Lindvall, Helienne “Behind the music: The real reason why the major labels love Spotify” The Guardian 18 Aug, 2009 

McLeod, Kembrew “Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation Within Electronic/Dance Music Communities”Journal of Popular Music Studies, Vol. 13, Issue 1, 2001 

McCUTCHEON, MARK A. “Techno, Frankenstein and copyright” Popular Music / Volume 26 / Issue 02 / May 2007, pp 259-280 

McRobbie, Angela “CLUBS TO COMPANIES: NOTES ON THE DECLINE OF POLITICAL CULTURE IN SPEEDED UP CREATIVE WORLDS” Cultural Studies Volume 16, Issue 4, 2002 pages 516-531

Medosch, A. (2005). “Roots Culture: Free Software Vibrations Inna Babylon.” Sarai Reader 2005 

Monroe, Alexei “Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound” Contemporary Music Review Volume 22, Issue 4, 2003 pages 35-43 

Montano, Ed. 2008. “‘You‘re Not A Real DJ Unless You Play Vinyl‘ – Technology and Formats – The Progression of Dance Music and DJ Culture.” Journal on the Art of Record Production 3, 1-9. 

Moore, Ryan “Digital Reproducibility and the Culture Industry: Popular Music and the Adorno-Benjamin Debate” Fast Capitalism 9.1, 2012 

Morris, Jeremy W. “Making music behave: Metadata and the digital music community” New Media and Society, Vol, 14, Issue 5, 2012 

Mudede, C. (2003). “The Turntable.” CTheory 4: 1-8.

Nye, Sean “Headphone-Headset-Jetset: DJ Culture, Mobility and Science Fictions of Listening” Dancecult Vol. 3, No. 11, 2011 

Owsinski, B. “Major Labels Buying Into Soundcloud Sets It Up For Acquisition” Forbes 7/24/2014 

Serazio, M. “The Apolitical Irony of Generation Mash‐Up: A Cultural Case Study in Popular Music” Popular Music and Society Vol. 31, No. 1, February 2008, pp. 79–94 

Schlosberg, Justin, “Transmit/Disrupt: Why does illegal broadcasting continue to thrive in the age of liberalised spectrum?”, MEDIA@LSE Electronic MSc Dissertation Series, 2009 (pdf) 

SMITH, RICHARD J. & MAUGHAN , TIM “Youth Culture and the Making of the Post-Fordist Economy: Dance Music in Contemporary Britain” Journal of Youth Studies Volume 1, Issue 2, 1998 pages 211-228 

Shapley, Gregory James “Sound of failure: experimental electronic music in our post-digital era” Thesis, UTS, 2012 

Sundaram, R. “Recycling modernity: Pirate electronic cultures in India” Third Text Volume 13, Issue 47, 1999

Thaemlitz, Terre (DJ Sprinkles) “iPod is Raping the Rapists Who Raped My Village: An economic overview of contemporary audio production” Originally published in “Zehar: Revista de Arteleku-ko Aldizkaria,” (Spain: Arteleku, No. 55, 2005).

Theberge, Paul “Random access: music, technology, postmodernism” in The Last Post: Music After Modernism edited by Simon Miller 

Turner, Tad. 2003. “The Resonance of the Cubicle: Laptop Performance in Post-digital Musics.” Contemporary Review 22(4), 81-92.

Turner, Fred “Burning Man at Google: a cultural infrastructure for new media production” new media & society 2009 Vol11(1&2): 73–94 

van Veen, C. t. (2004). “Reconstruction & Rhythm Science: networks and properties of remix culture”. Art History and Communication Studies. Montreal, McGill University. M.A.: 153.

Weisman/Adkins “Post-media Piracy and the Common: Towards the Resingularization of Subjectivity” 2012 

Whelan, Andrew. 2006. “Do U Produce?: Subcultural Capital and Amateur Musicianship in Peer-to-Peer Networks” In Cybersounds: Essays on Virtual Music Culture, edited by Ayers, Michael. New York: Peter Lang, 57-81 

“History is made at night: The politics of dancing and musicking” (pdf copy) (contents: Malcolm X: Dancer & Drummer – Parties & Police 2012 – Portugal ’74: Radio & Revolution – Club UK: Love, Ecstasy & Crime, 1993-96– Copyright & Capital)  (from:





::: Documentaries :::

“PressPausePlay” 2012

“The digital revolution of the last decade has unleashed creativity and talent in an unprecedented way, with unlimited opportunities. But does democratized culture mean better art or is true talent instead drowned out? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world’s most influential creators of the digital era.”