Peers, Pirates, and Persuasion: Rhetoric in the Peer-to-Peer by John Logie

By John Logie

Friends, PIRATES, AND PERSUASION: RHETORIC within the PEER-TO-PEER DEBATES investigates the position of rhetoric in shaping public perceptions a few novel know-how: peer-to-peer file-sharing networks. whereas broadband net providers now enable fast transfers of complicated media documents, american citizens face genuine uncertainty approximately no matter if peer-to-peer dossier sharing is or will be criminal. John Logie analyzes the general public arguments growing to be out of greater than 5 years of discussion sparked through the appearance of Napster, the 1st largely followed peer-to-peer know-how. the controversy keeps with the second one wave of peer-to-peer dossier move utilities like Limewire, KaZaA, and BitTorrent. With friends, PIRATES, AND PERSUASION, Logie joins the likes of Lawrence Lessig, Siva Vaidhyanathan, Jessica Litman, and James Boyle within the ongoing attempt to problem and alter present copyright legislation in order that it fulfills its function of fostering creativity and innovation whereas preserving the rights of artists in an consciousness economic climate. Logie examines metaphoric frames-warfare, robbery, piracy, sharing, and hacking, for example-that dominate the peer-to-peer debates and demonstrably form public coverage at the use and trade of electronic media. friends, PIRATES, AND PERSUASION identifies the Napster case as a failed chance for a effective nationwide dialogue on highbrow estate rights and duties in electronic environments. Logie closes through reading the U.S. superb Court's ruling within the "Grokster" case, during which major peer-to-peer businesses have been stumbled on to be actively inducing copyright infringement. The Grokster case, Logie contends, has already produced the chilling results that might stifle the cutting edge spirit on the center of the net and networked groups. in regards to the writer John Logie is affiliate Professor of Rhetoric on the collage of Minnesota.

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He agreed to the arrangement when he was nineteen years old. Fanning developed the Napster code while a student at Northeastern University. Despite Fanning’s having left the University almost immediately after this “Eureka” moment, the company often presented him in circumstances which reinforced a dormitory-based “hacker” persona. ) looking like a sophomore with more than a touch of rebel attitude. com and the maintenance of Fanning’s ethos as a blend of college-age music fan and hacker. Figure 3.

The gap between Patterson’s principles and Goldstein’s account of contemporary copyright in operation is significant. While Patterson called for sharp limits on publishers’ ability to pursue cases of infringement in the absence of public performance/sale and demonstrable economic harm, Goldstein, surveying 1994’s newly networked environment, must acknowledge that Patterson’s calls are being drowned out by increasingly aggressive copyright enforcement. Goldstein’s language—however grudgingly—acknowledges that copyright holders were successfully pursuing cases where no public performance or sale had occurred, and where no demonstrable economic harm could be established.

269) The Grateful Dead, of course, holds special significance in the prehistory of the peer-to-peer debate. The Dead’s pioneering toleration of fans taping its concerts and subsequently trading the tapes is routinely pointed to as a potentially viable model for the kinds of contemporary exchanges of digital media made possible by peer-to-peer technologies. The band forbade the unauthorized sale of concert tapes, but encouraged fans to trade with one another, and thereby became one of the most successful touring bands ever.

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