LSE_MPPbrief1_creative_destruction_and_copyright_protection. LSE Media Policy Project: Media policy brief 1Creative destruction and copyright protection Acknowledgements The authors would like to thank Professors Robin Mansell and SoniaLivingstone for their insightful editorial contributions on earlier drafts of thismedia policy brief.
We are also grateful for the research and organizationalassistance of our resourceful and talented interns: Dorota Kazcuba, NateVaagen, Ben Murray, Davide Morisi and Liam O’Neill. In addition, Jim Killockand Mark Margaretten contributed to stimulating discussion during theproject’s expert meeting on ‘File-sharing, the DEA and its implementation’.The LSE Media Policy Project is funded by the Higher Education InnovationFund 4. LSE Media Policy Project Series EditorsZoetanya Sujon and Damian Tambini March 2011.LSE Media Policy Project. Did file-sharing cause recording industry collapse? Economists say no. For the last decade, the movie and music industries have engaged in a relentless struggle against Internet file sharing.
One prominent theater of this global conflict has been the UK, which last year saw the passage of the Digital Economy Act. The law, if fully implemented, could allow Internet Service Providers to disconnect "persistent infringers" of the UK's copyright rules from the 'Net. The zeal with which Hollywood and the recording industry have pursued this ISP-as-cop approach around the world has prompted some ISPs to cry foul. "The notion of disconnection without judicial oversight violates the presumption of innocence," warned the Australian DSL service iiNet in a recent position piece . "As the penalty for possibly minor economic loss (at the individual infringer level) removal of Internet access is, therefore, both inappropriate and disproportionate.
" Now comes a paper from the London School of Economics that tries to do more than just challenge the DEA. FUTURE CITY OF MUSIC. Berlin is emerging as a hub for music technology companies trying to dramatically change the way we make and listen to music ...
Special to MORE INTELLIGENT LIFE When Richie Hawtin, a Canadian electronic musician and DJ, did a live set in Berlin using just two iPads, he was not just demonstrating the lightening hand speed and progressive sounds that have made him famous. He was showcasing how he has been able to push back musical boundaries by embracing technological tools created and invented in the city. These creations are now beginning to influence the music industry at large. Hawtin, who was playing a set using software programmes on two iPads which mimic a DJ’s two sets of decks, is one of a growing band of artists and music exiles who use the vibrancy and freedom of Berlin as fuel for their work.
At a time when big record labels are hemorrhaging cash, Berlin’s nascent music technology start-ups have created a blueprint for what the music industry of the future could look like. The REAL Death Of The Music Industry. In January, Bain & Company produced the following chart as part of their report on “Publishing in the Digital Age” (PDF): Bain Analysis Then on Tuesday, someone posted it on Flickr.
Subsequently, Peter Kafka of Wall Street Journal's MediaMemo noticed it and passed it along to Jay Yarow, who made it Business Insider’s Chart of the Day on Wednesday, citing Kafka and the Flickr post. On Thursday, the excellent John Gruber at Daring Fireball linked to it and between those two postings the chart garnered a fair bit of attention, including from the likes of apparent digital music expert Bob Lefsetz (“First in Music Analysis”).
No one seems to have tracked it back to the original source nor noticed what happened to catch my eye straight away: This chart sucks. What’s Wrong With It Oh, Bain – I hope no one has hired you for your expert “analysis” in this field: The Right Chart Recording Industry Association of America All discussion herein is for US recorded music as covered by the RIAA. 1.