By Adam Haupt
Utilizing the paintings of Antonio Negri and Michael Hardt as a place to begin, this groundbreaking inquiry poses the query What probabilities for company exist within the age of company globalization? concerns surrounding copyright through peer-to-peer (P2P) structures reminiscent of Napster, loose speech struggles, debates approximately entry to info, and open-content licenses are tested. The vast ranging impression of world company monopolist developments on features of media tradition and formative years tradition are mentioned, and possible choices to proprietary types for the construction of data and tradition, reminiscent of open-source software program and inventive Commons licenses, are thought of. no matter if analyzing empire stealing via commoditization of countercultures, or the stealing empire actions of file-sharers and hip-hop activists, the dynamic pressure between industry, group, and individual are awarded for legislations, media, and cultural stories students.
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Extra info for Stealing Empire: P2P, Intellectual Property and Hip-Hop Subversion
Sample text
She also speaks of the ‘corporate media’ as the ‘neo-liberal project’ that legitimates the operation of Empire (2004: 34). It therefore appears that she employs some of the key concepts described by Hardt and Negri in her vision for realising meaningful political change. As an aside, it is interesting to note that Louis Althusser’s (1971) concept of ideological state apparatuses is extended beyond the reach of the nation-state itself, thanks to the pervasive role of transnational media corporations like cnn, bbc and Independent Newspapers.
Za The power of the multitude In their discussion of the kinds of agency that are possible in Empire, Hardt and Negri speak of the power of the multitude. They contend that the ‘revolutions of the twentieth century have pushed forward and transformed the terms of class conflict, posing the conditions of a new political subjectivity, an insurgent multitude against imperial power’ (2000: 394). Hardt and Negri go so far as to claim that the ‘multitude called Empire into being’ (2000: 43) and not vice versa.
Com 2003–2007). It is this oxymoron that informs the young poet’s interpretation of us military involvement in Iraq and this understanding is conflated with the rhetoric of Hollywood representations (the binary battle between good and evil; justice and injustice; fascism and democracy; [white] American and Russian / Arab / the racial ‘other’). At the very least, the distinction between fact and fiction becomes blurred at the level of connotation, which allows for very narrow interpretations and processes of identification in citizens’ engagement with narratives about the war in Iraq.