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The Social Construction of Napster

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dc.creator Spitz, David
dc.creator Hunter, Starling
dc.date 2004-03-05T20:08:53Z
dc.date 2004-03-05T20:08:53Z
dc.date 2004-03-05T20:08:53Z
dc.date.accessioned 2013-10-09T02:37:24Z
dc.date.available 2013-10-09T02:37:24Z
dc.date.issued 2013-10-09
dc.identifier http://hdl.handle.net/1721.1/5049
dc.identifier.uri http://koha.mediu.edu.my:8181/xmlui/handle/1721
dc.description This paper attempts to unpack a few of the vast array of assumptions implicit in how "the technology" known as Napster was understood by several of its key constituencies. Our approach examines discourse about Napster in several areas - legal, economic, social, and cultural. This approach enables us to understand "the technology" as an ongoing encounter, rather than the accomplishment of any one inventor, team of inventors, dominant institution, or rule of law. We do not offer proscriptive advice. While there is value in other research that has tried to determine the "impact of Napster on" a particular market or industry, we argue that a multidimensional understanding is necessary both as a foundation for such research as well as in its own right. In only the past four years, dominant interpretations of Napster have not only emerged, but also have been inscribed into laws, business plans, and purchasing decisions, in effect, determining what "tools" - precedents, myths, data sets, prior objects, capabilities - will be available in the future. Our paper tries to show how and why certain (subjective) significations increasingly have taken on the status of truth, while other (equally subjective) discourses have been pushed farther and farther out to the fringes
dc.format 252735 bytes
dc.format application/pdf
dc.language en_US
dc.relation MIT Sloan School of Management Working Paper;4445-03
dc.subject Napster
dc.subject peer to peer
dc.subject culture
dc.subject information technology
dc.subject music industry
dc.subject digital music
dc.title The Social Construction of Napster
dc.type Working Paper


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