Spotify e os piratas: em busca de uma “jukebox celestial” para a diversidade cultural

• Autores: Miguel Afonso Caetano
• Localización: Revista crítica de ciencias sociais, ISSN-e 2182-7435, ISSN 0254-1106, Nº. 109, 2016 (Ejemplar dedicado a: Culturas musicais contemporâneas), págs. 229-250
• Idioma: portugués
• DOI: 10.4000/rccs.6311
• Títulos paralelos:
  • Spotify et les pirates: À la recherche d'un “jukebox céleste” pour la diversité culturelle
  • Spotify and the Pirates: In Search of a “Celestial Jukebox” for Cultural Diversity
• Enlaces
  • Texto completo
• Resumen
  • português

    Apontados frequentemente como a solução definitiva para o problema mundial da “pirataria online”, os serviços de streaming têm vindo a substituir as redes e os sites de partilha de ficheiros nas preferências dos utilizadores relativamente ao acesso online a música. Um exemplo de crescente popularidade é o serviço da empresa sueca Spotify. Embora a Spotify cite vários estudos demonstrando um alegado impacto positivo do seu serviço na redução da “pirataria online”, este artigo visa demonstrar que só muito dificilmente as plataformas comerciais de streaming apoiadas pela indústria de produção de obras culturais poderão ser capazes de proporcionar uma oferta centrada na e democratização do acesso à cultura. Para tal, irá proceder se a uma análise comparativa entre o serviço da Spotify e uma comunidade privada de partilha de ficheiros baseada numa experiência pessoal de utilização de ambos os serviços a partir de um país periférico da União Europeia como Portugal.

  • English

    Often seen as the ultimate solution for the global problem of “online piracy”, streaming services have been replacing file sharing networks and sites as the preferred means of accessing online music. One example of their increasing popularity is the service provided by the Swedish company Spotify. Even though Spotify quotes several studies showing the alleged positive impact of its service in terms of reducing “online music piracy”, this paper aims to highlight the main obstacles facing an offer based on the democratization of access to culture presented by commercial streaming services supported by the culture industries. It draws on a comparative analysis of Spotify and a private file sharing community (a private BitTorrent tracker), based on the experience of using both services by an individual living in a peripheral country in the European Union like in Portugal.

  • français

    Souvent mentionné comme la solution définitive au problème du “piratage online”, les services de streaming tendent peu à peu à remplacer les réseaux et les sites de partage de fichiers dans la préférence des utilisateurs en matière d'accès online à la musique. Un exemple de croissante popularité en est le service de l'entreprise suédoise Spotify. Bien que Spotify cite diverses études démontrant un soi disant impact positif de son service sur la réduction du “piratage online”, cet article a pour but de démontrer que ce n'est que très difficilement que les plateformes commerciales de streaming, soutenues par l'industrie de production d'œuvres culturelles, seront à même de produire une offre centrée sur la démocratisation de l'accès à la culture. Pour ce faire, nous procèderons à une analyse comparative entre le service de Spotify et une communauté privée de partage de fichiers reposant sur une expérience personnelle d'utilisation des deux services à partir d'un pays périphérique de l'Union Européenne comme le Portugal.

• Referencias bibliográficas
  • Aigrain, Philippe. (2012). Sharing: Culture and the Economy in the Internet Age. Amsterdam University Press. Amsterdam.
  • Allen Robertson, James. (2013). Digital Culture Industry: A History of Digital Distribution. Palgrave Macmillan. Basingstoke.
  • Cummings, Alex Sayf. (2013). Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century. Oxford University...
  • Decherney, Peter. (2012). Hollywood's Copyright Wars: From Edison to the Internet. Columbia University Press. New York.
  • Goldstein, Paul. (2003). Copyright's Highway: From Gutenberg to the Celestial Jukebox. Stanford University Press (ed Orig 1994). Stanford,...
  • Hilderbrand, Lucas. (2009). Inherent Vice: Bootleg Histories of Videotape and Copyright. Duke University Press. Durham.
  • Johns, Adrian. (2009). Piracy: The Intellectual Property Wars from Gutenberg to Gates. University of Chicago Press. Chicago.
  • Kernfeld, Barry. (2011). Pop Song Piracy: Disobedient Music Distribution since 1929. University of Chicago Press. Chicago.
  • Lardner, James. (1987). Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR. Norton. New York.
  • McDonald, Paul. (2007). Video and DVD Industries. British Film Institute. London.
  • Mulligan, Mark, Simpson, Alun. (2014). The Streaming Effect: Assessing The Impact of Streaming Music Behaviour. MIDia Research.
  • Rifkin, Jeremy. (2000). The Age of Access: The New Culture of Hypercapitalism Where All of Life is a Paid-For Experience. JP Tarcher/Putnam....
  • Schwarz, Jonas Anderson. (2013). Online File Sharing: Innovations in Media Consumption. Routledge. New York.
  • Striphas, Ted. (2011). The Late Age of Print: Everyday Book Culture from Consumerism to Control. Columbia University Press. New York.
  • Wasser, Frederick. (2001). Veni, Vidi, Video: The Hollywood Empire and the VCR. University of Texas Press. Austin.
  • Wikström, Patrik. (2013). The Music Industry: Music in the Cloud. Polity. Cambridge.