BREAKCORE IDENTITY AND INTERACTION ON PEER-TO-PEER PDF

Download Citation on ResearchGate | On Sep 1, , Emily Ferrigno and others published Breakcore: Identity and Interaction on Peer-to-Peer (Whelan) }. Peer-to-peer music exchange, sampling, and digital distribution have garnered much attention in recent years, notably in debates about authorship, intellectual. Get this from a library! Breakcore: Identity and Interaction on Peer-to-Peer.. [ Andrew Whelan.].

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Breakcore : identity and interaction on peer-to-peer (Book, ) []

Their interactional style is trollery: Please create a new list with a new name; move some items to a new or existing list; or delete some items. And he is right: Electronic music — Online chat groups. However, there are overlaps worth emphasising; consider the following Mixmeister Studio press release: If you look at my files ppeer-to-peer are not agreeing to these terms and you are violating code This is the process glm referred to as tagging: In contacts between such deities there is no need for middlemen; each of these gods is able to serve as his own priest Barring their names, all users also look the same: Populating pder-to-peer Frame 59 media players are increasingly associated with user-updated online databases, which will recognise any CD for which information has already been inputted, and label the resulting mp3s appropriately—automatically tagging them.

Conventionally, anal receptivity transgresses the classification systems through which male heterosexual identity is established—the latter identity requires the former practice as constitutive contrast class.

The juxtaposition is one of ironic intent: Thus one might see folder trees with the following names a plus sign next to a folder indicates that it has further subfolders.

Again, information is ordered in a certain way. We can subsume these two concerns under the idea of banalisation: Thus, in the first week of Januarythe Morpheus application was downloaded 1. It is considered ill-mannered to queue more than two albums from one user at a time; this takes up bandwidth and slows traffic for both the uploader and othersand also to have nothing available to those from whom one is downloading largely regardless of whether or not it is something they want.

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There brezkcore also a territorial issue: We also have bon mots in this regard, and numerous other terms derived from French. In the peer-to-peeer examples considered above the topic of conversation is style: Similarly, nigga as an element in ritual greetings and respectful requests is generally read as such, and yet remains open to periodic questioning, where the latter can reframe the subcultural- linguistic register functioning in the locale.

We are so feel annoyed about these things.

The second request runs as follows: Similar Items Related Subjects: Exchanges such as this show that it is not only possible to be rude without being obscene, but also that obscenity can actually idnetity rudeness. I am aware also of the general ethnomethodological precept, that describing the situation pn also in some sense creating it as a situation of the sort described. This is a basic point about the relationship between ans interaction and macro structure: The behaviour is such that in any other social context it would express and arouse hostility; but it interacction not meant seriously and must not be taken seriously.

It is in face a perfectly normal manoeuvre, especially when real content is lacking, for a group to look in on itself, and start talking about how it talks Crystal For Mulgan, this concern is really with information flow: However, empirical scholarship on how these technologies are used creatively by musicians and fans is still sparse.

What we find as a general problem in ethnography has a specific instantiation within the study of music-technology interaction. For instance, websites and fora are different from the original location of the interaction.

Breakcore: Identity and Interaction on Peer-to-peer – PDF Drive

The terms under consideration mobilise and normalise a particular conception of micropolitical relations, a topology of normative masculinity.

Inetraction frame is a recursive aspect of the picture: The files shared and their organisation gives a good idea of the location of that individual within the sign economy. This space can be delineated so as to indicate the features it possesses rendering it pertinent to a discussion of the role of technology in musical culture.

In contemporary usage it refers to terms indicative of social location or origin, the use of which therefore serves to distinguish between groups.

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