The Metric is the Message: How Much of the Decline in Sound Recording Sales is Due to File-Sharing?

2011 ◽  
Author(s):  
Stan J. Liebowitz
Keyword(s):  
File Sharing ◽  
Sound Recording

The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

Overlay Structure Efficiency in Peer-to-peer File-Sharing Networks

2011 ◽  
Vol 7 (5) ◽  
pp. 16-21
Author(s):  
G.V. Poryev ◽  
Keyword(s):  
File Sharing ◽  
Peer To Peer

A New Technique for File Sharing Mechanism Ad hoc Networks

2018 ◽  
Vol 8 (3) ◽  
pp. 1
Author(s):  
N. Lavanya ◽  
M. Balakrishna
Keyword(s):  
Ad Hoc Networks ◽  
Network Coding ◽  
Wireless Ad Hoc Networks ◽  
Ad Hoc ◽  
File Sharing ◽  
New Technique ◽  
Peer To Peer Systems ◽  
A New Technique ◽  
Hoc Networks ◽  
Outgoing Channel

Network coding is a data transmission technique which allows intermediate nodes in a network to re-code data in transit. In contrast to traditional network communication where a node repeats incoming data to its outgoing channel without modifying the payload, a node implementing network coding not only repeats but also alters data. Network coding has been demonstrated to increase network throughput compared to the traditional forwarding transmission. It has potentially broad applications in many areas, including traditional computer networks, wireless ad-hoc networks, and peer to peer systems. This paper process a new technique for file sharing in P2P.

Digital Copyright

2017 ◽  
Author(s):  
Jessica Litman
Keyword(s):  
Motion Picture ◽  
General Public ◽  
File Sharing ◽  
Peer To Peer ◽  
Copyright Law ◽  
Information Policy ◽  
Free Society ◽  
Digital Copyright ◽  
Exchange Of Information ◽  
Copyright Laws

The general public is used to thinking of copyright (if it thinks of it at all) as marginal and arcane. But copyright is central to our society’s information policy and affects what we can read, view, hear, use, or learn. In 1998 Congress enacted new laws greatly expanding copy owners’ control over individuals’ private uses of their works. The efforts to enforce these new rights laws have resulted in highly publicized legal battles between established media, including major record labels and motion picture studios, and upstart internet companies such as MP3.com and Napster.In this book, I question whether copyright laws crafted by lawyers and their lobbyists really make sense for the vast majority of us. Should every interaction between ordinary consumers and copyright-protected works be restricted by law? Is it practical to enforce such laws, or expect consumers to obey them? What are the effects of such laws on the exchange of information in a free society? My critique exposes the 1998 copyright law as an incoherent patchwork. I argues for reforms that reflect the way people actually behave in their daily digital interactions.The Maize Books edition includes both an afterword written in 2006 exploring the rise of peer-to-peer file sharing and a new Postscript reflecting on the consequences of the Digital Millennium Copyright Act as it nears its twentieth birthday.

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