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Information regarding prices, travel timetables, and other factual information given in this work is correct at the time of first printing but. Cambridge. but feel a little smug that I don't have to ride down here as often as Alan. Alan is 26 and has been riding in London for three years. He commutes the eight. We went dancing! a bike ride a video. 9. CONVERSATION. Lucky you! A Listen and practice. do go have make take. Leah. KIM DOTCOM MUSIC ALBUM TORRENTS But now they you might have. This page provides very least, if window, you can b Second, show an emergency fix. If you are is set to Aug 31, Spartan.

Music, in this view, has shifted from a more communitarian-oriented activity the age before the technological reproducibility of sound to a more a privatized one the age of the recording industry and now back again the age of disintermediated network connectivity. One might say this urge is part of our genetic makeup. By , the listening habits of a new generation of listeners had shifted.

Illegal file-sharing rapidly decreased and online music streaming became the norm. Indeed, as Weingarten points out, 95 self-mounted digital musical downloads are not in themselves lucrative: despite the hundreds of blogs, thousands of downloads, and millions of views of OK Go songs, for example, the band cannot effectively sell their music online.

In his book Mashed Up: Music, Technology, and the Rise of Configurable Culture , for example, Aram Sinnreich extols the virtues of the new nonlinear modes of intertextual music-making, whose patterns deftly recapitulate the networked architectures of new digital technologies.

Online culture is dominated by trivial mashups of the culture that existed before the onset of mashups, and by fandom responding to the dwindling outposts of centralized mass media. Everything is retro, retro, retro. Arguably, by leveraging a kind of reflective techno-terroir, these genres critically engage with the consumer culture upon which they depend.

Lanier, however, would regard this kind of artistic practice as derivative and reactionary. It is in the context of new business opportunities associated with cloud computing, where millions of computers and servers are linked to human and nonhuman agents invisibly harvesting, processing, and analyzing data, that free work should be scrutinized. Aside from the winners known as Bellkor, a global alliance of some thirty members , three years of labor, involving thousands of teams, from over countries, missed the mark.

Likewise, the website Crowdspring acts as an interface between companies and graphic designers and writers, promising an average of entries per project. The economic logic is evident: for every successfully purchased design, we find about one hundred redundant ones. The list of platforms providing crowd-sourced opportunities goes on. This is the unpaid labor that increasingly delivers content and data to profit-oriented mainstream platforms.

Paradoxically, in the context of music-making, such nonproprietory volunteerism resonates with a host of 60s-era countercultural themes—the virtues of free culture, the death of the author, the irreducibility of intertextuality, the flourishing of creativity, the productive dimension of reception and consumption, the demise of oppressive copyright protection, and so on—which come ideologically to signal a massive divide between the music industry and digital music users.

Quite apart from the well-established legacy of anti-establishment credibility afforded by countercultural rhetoric for the advertising and branding of commodities and services, brands themselves have also leveraged the tactile-behavioral logic associated with new technologies for their own ends. While iTunes still represents an older model for the commercial delivery of music in bit-size chunks, instead of cloud-based streaming , it is worth noting a downward trend as far as the per-unit revenues received by actual musicians is concerned.

Byrne notes, for example, that, while iTunes returns a higher percentage of its revenues to artists 14 percent , Apple itself receives 30 percent; furthermore, the actual amount received by artists is less than what they would receive with a traditional CD.

As mobile technologies coupled with subscription-based streaming services become mainstream, and the concomitant stockpiling of music in user-controlled digital memory dissipates, unit-based revenues for artists has diminished much further, if not withered outright.

While the economics of streaming are vexingly opaque, the measurable revenue streams toward actual artists indicate remarkably meager returns. Mode Records, for example, received less than one third of a penny for every stream on Spotify. Instead of monetizing per stream, music labels tend to be invested in equity shares in the streaming services themselves. This means that revenues generated by advertising and subscription fees are proportionately divided up among equity holders and only then distributed to artists, according to variable agreements between artists and labels.

Just as consumption is delinked therefrom, remuneration, in the era of streaming, is therefore delinked from the unit-based legal model meant to guide it. Given the mismatch between the flow of capital and investment, it is not surprising that the most powerful music streaming platforms, such as YouTube and Spotify, are also the lowest revenue-producing platforms for artists.

As a result, even stars like Lady Gaga were locked into recording label deals that generated no revenue for the artist from streams on Spotify. Far from tending toward disintermediation, the old industrial intermediaries have effectively been transformed into or substituted by a handful of cloud-based hyperintermediaries.

In this sense, the crisis of intellectual property in the context of information production today could signal a terminal danger for capitalism itself. In other words, creative work that may have fallen off the radar of searchability under older technological conditions exists on the market, and, newly visible, may even migrate up the long tail. Lanier, for example, argues that the alliance has resulted in a new kind of social contract:.

The basic idea of this contract is that authors, journalists, musicians, and artists are encouraged to treat the fruits of their intellects and imaginations as fragments to be given without pay to the hive mind. Reciprocity takes the form of self-promotion. Culture is to become precisely nothing but advertising. I prefer to think of the Long Tail as being a tail to a different animal. It is not the long tail of the Beast of Commercial Profits.

Rather it is the long tail of the Dragon of Love. The love of creating, of making, of connecting, of unreasonable passion, or making a difference, or doing something that matters to ourselves, the love of connecting, giving, learning, producing, and sharing. It is important to know which tail we are wagging. How it will be possible, without some way of controlling pricing and distribution, for individuals or music companies to cover expenditures related to longer-term creative projects, the development of new artists, and elaborate studio productions, is uncertain.

In contrast, it is unlikely that the proprietors of the major cloud computing centers will discourage the culture of unpaid creative labor, especially in the context of subscription-based streaming services; it is even less likely in the context of free advertising-driven services; and most unlikely in the context of search-based services.

Better to play the big-n statistical game of User Generated Content [the doctrine of statistical reliability through sheer magnitude], as YouTube has. Nelson proposed that whenever a digital bit of music, journalism, video art, and so forth was accessed by a user, the maker of that expression should be paid a moderate sum.

As a result, anyone might be able to get rich from creative work. The people who make a momentarily popular prank video clip might earn a lot of money in a single day, but an obscure scholar might eventually earn as much over many years as her work is repeatedly referenced. But note that this is a very different idea from the long tail, because it rewards individuals instead of cloud owners.

In addition, Lanier argues that copy-protection technologies should be reinstated even if they cannot be perfected , banking on the idea that most people would accept the kind of social contract that expects a moderate payment for a cultural item or expression that reward creators directly. Failing the kind of libertarian hypercapitalism advanced here, it becomes difficult to envisage a flourishing and sustainable culture outside of socialism.

If music is to retain its cultural value, it may also need to retain an aspect of its thing-like, content-based character, which is otherwise gradually being eroded by mobile computers tethered to streamlined services alone. Not only does the piecemeal, self-employed work proffered in the context of crowd-sourcing, practically by definition, demand a nonalienated relationship to that work, but full-time employees are increasingly expected to express such a relationship within the traditional workplace as well.

Labor processes in the digital age are looking more and more alike. The production by information and knowledge workers—including journalism, telecommunication, information technology, design, and other cultural communities—is approximating, as it were, the condition of musical work. As it is with musical work, creativity, open-mindedness, initiative, entrepreneurial skill, originality, individualism, and innovation are common subjective preconditions for employment in the context of intermittent, freelance, and temporary tasks afforded by the independently networked environment.

The new subject of capital is not that of law-abiding servility under the oppressive gaze of power, but instead decentered, innovative, flexible, and networked. Lazzarato characterizes such metropolitan immaterial labor as precarious, hyper-exploited, mobile, and hierarchic, and detects within the creative class the appearance of an intellectual proletariat.

As shown earlier, digital media in the 21 st century have ushered in widespread new online habiti , which, in turn, have proffered new networked socialites. In the large-scale context of enhanced digital efficiencies in delivery, experience, etc. Given the constitutive dependence of musicking on community or, put differently, on the publicity-accessed public , this model becomes selectively, and deceptively, in visible within the network.

On the one hand, online communities bear witness to intermittent musical successes self-launched artists, flash mob events and parties, audiovisual memes, viral videos, etc. It is the private, richly subjective, invisible crowd that proffers new forms of capture for the increasingly privatized invisible cloud.

The question is, what kind of storm will be precipitated as the evaporating crowd increasingly serves as nervous system for the accumulating cloud? Can these new subjectively inflected laborers—the creative commons in production—open up production to the commons? Or do the creative commons merely innervate capitalist industry and services? Has a new anthropological reality—a generalized creative communism or communalism within capitalism—morphed into a kind of communism of capitalism; or more presciently, a communism for capitalism?

Katz ed. Ayers ed. Glotz, S. Bertschi, and C. Locke eds. Apple: Who Will Win? Knopf, Eriksson et al. Foth ed. Likewise, on a global scale, despite the overall paucity of fixed-line infrastructure, mobile subscription in developing nations has risen from 12 million in to over 1. Yet the ascendency of basic, widespread, affordable mobile connectivity, and its concomitant naturalization, mainstreaming, and, above all, structural integration into economic networks of production and exchange, is inevitable today.

To be sure, the use of mobile communication in developing nations differs considerably from that of the developed nations. In these regions mobile devices tend to be cheaper and boast considerably fewer applications than do smart-phones in developing nations. Users who cannot afford a mobile device frequently depend on communication centers to send text messages and make calls, and, for those who do own them, various cost-cutting techniques are adopted.

Nonetheless, with improvements in connectivity, broadband access, and affordability in these geographical areas, mobile devices, with enhanced computational capabilities, have become an integral aspect of social, national, and economic life in these zones as well. Occasionally, digital networks in the developing world have even outpaced those in the developed world. In Kenya and Tanzania, for example, M-Pesa, a mobile phone-based system for money transfers and microfinancing, was launched in by large local network operators.

Before bitcoin could become mainstream in the industrial West, M-Pesa had become the dominant form for financial transactions in these African nations. Knopf, , p. The thriving independent music scene is likewise primarily monetized by way of live events. In fact, the valorization of the live event is particularly symptomatic in the context of emergent local cultural practices.

The events thereby loosen the grip of both the pre-recorded digital track and the attendant algorithm that characterizes online listening. In other words, this kind of cultural formation is the live stumble culture that is constitutively linked to the digitally mediated and ubiquitously ranked one. He works on sound, music, media, and politics, with a particular interest in the global biographies of sound and other ephemera circulating in geographically-remote regions. Voir la notice dans le catalogue OpenEdition.

Navigation — Plan du site. Transposition Musique et Sciences Sociales. Economies of Digital Music. Martin Scherzinger. Amsterdam , Netherlands on April 20th Fietsersbond Cafe info. Leeuwarden , Netherlands on April 16th Fietsersbond Cafe info. Hengelo , Netherlands on April 13th Fietsersbond Cafe info. Zwolle , Netherlands on April 12th Fietsersbond Cafe info. Eindhoven , Netherlands on April 10th Fietsersbond Cafe info. Goes , Netherlands on April 3rd Fietsersbond Cafe info.

Utrecht , Netherlands on March 27th Fietsersbond Cafe info. Nijmegen , Netherlands on March 22nd Fietsersbond Cafe info. Luxemburg , on March 22nd with Dutch Embassy info. Rotterdam , Netherlands on March 20th Fietsersbond Cafe info. Cork , Ireland on March 14th info. Auckland , New Zealand on March 7th info. Daytona Beach , Florida on February 24th info. Barcelona , Spain on February 22th.

Antwerps , Belgium on February 22nd info. Waterford , Ireland on February 8th info. Moscow , Russia on February 7th Russian Version info. We had an audience member in tears practically unable to speak after a showing of Why We Cycle.

It kills us to see the Dutch model while our own local and national authorities cannot see beyond KingCar. How can one feel homesick for a place one has never lived? The film makers created a masterpiece that needs to be seen by more people. ThinkWhyYouBike pic. CaraiVei1 10 maart On vous dira! Photo NLeconomyinTR pic. A bicycle culture can change communities. As co-director ghulster mentioned: a biking city is even possible in Istanbul.

Heel herkenbare beelden en verhalen, maar de docu laat ook nadenken over iets dat voor de meeste Nederlanders vanzelfsprekend is. I recently watched a Dutch documentary called Why We Cycle. It was fantastic. What I took from it was the mutual trust between cyclists, cars,pedestrians, trains etc… it works because of unwritten rules but mostly the trust. Met dank aan milieudefensie klimaatfestival — Jacomijn Pluimers JacomijnP 30 september Se muestra la cultura de la bicicleta en Holanda, un ejemplo a seguir.

Antes ha habido una actividad de puesta a punto de? Why do YOU cycle? Cycling Cam. Well worth a watch. En 1 tuit o 2 o muchos? Even better than the film, was the crowd.. And proud to see a couple constituents on the post-show panel now! Forrest Bennett ForrestBennett 10 augustus It shows the human side of cycling and explains clearly why it is way more than transportation or leisure.

Also spotted jonwoodroof in action. To the Dutch, cycling is as normal as breathing. Please sent an email if you have any questions about Why We Cycle or if you want to show or broadcast the documentary. Toggle Sliding Bar Area.

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