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‘With clarity and sophistication, Antonios Broumas presents a bold new theory of intellectual commons and powerful arguments for a new body of supportive law. This book not only reveals the misleading logic of intellectual property law in our time; it reveals the rich possibilities for constructive change that legally protected commoning can bring. Highly recommended!’ — David Bollier, Director, Reinventing the Commons Program, Schumacher Center for a New Economics.
‘Liberating the Intellectual Commons from the fetters of capital accumulation and appropriation, would give us a renaissance of creative energies and empowered communities: exactly what the world needs to move away from the social and ecological devastations of our times. This book is a thoughtful and compelling argument for making this possible through the works of the law and the redesign of public domain as a common space.’ — Massimo De Angelis, Professor of Political Economy and Social Change, Co-director of the Centre for Social Justice and Change, University of East London.
‘In this pioneering book, Antonios Broumas argues that philosophically, morally, politically and economically we are in urgent need of a new legal regime that recognizes the intellectual commons, peer production and sharing as the primary practices of intellectual production, distribution and consumption. I cannot imagine a more urgent task today. A legally protected intellectual commons will lead to greater scientific and cultural innovation and creativity and will lead to an urgently needed second Enlightenment. This book should be read by lawyers, critical theorists, economists and the many professionals of science, culture and the academy.’ — Costas Douzinas, Professor of Law, Birkbeck, University of London.
‘Antonios Broumas’ book is an excellent critical analysis of the cultural commons and a must-read for everyone interested in understanding what the commons, the cultural commons, and the digital commons are all about. This work brilliantly outlines the foundations of an empirically grounded critical theory of the commons and the cultural commons in the context of the interactions of law and society.’ — Christian Fuchs, Professor of Media and Communication Studies, author of Communication and Capitalism: A Critical Theory (2020).
‘Broumas takes us on a spellbinding tour of how and why the law could and should change to accommodate the creative multitude, which engages into an emerging mode of production. He tells a vibrant story that makes us shout: “Lawmakers of the world, unite!”’ — Vasilis Kostakis, Professor of P2P Governance, Tallinn University of Technology, Faculty Associate at Harvard Law School.
At the cutting edge of contemporary wealth creation people form self-governed communities of collaborative innovation in conditions of relative equipotency and produce resources with free access to all. The emergent intellectual commons have the potential to commonify intellectual production and distribution, unleash human creativity through collaboration and democratise innovation with wider positive effects for our societies. Contemporary intellectual property laws fail to address this potential. We are, therefore, in pressing need of an institutional alternative beyond the inherent limitations of intellectual property law. This book offers an overall analysis of the moral significance of the intellectual commons and outlines appropriate modes for their regulation. Its principal thesis is that our legal systems are in need of an independent body of law for the protection and promotion of the intellectual commons, in parallel to intellectual property law. In this context, the author of the book proposes the reconstruction of the doctrine of the public domain and the exceptions and limitations of exclusive intellectual property rights into an intellectual commons law, which will underpin a vibrant non-commercial zone of creativity and innovation in intellectual production, distribution and consumption alongside commodity markets enabled by intellectual property law.
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This book explores the potential creation of a broader collaborative economy through commons-based peer production (P2P) and the emergent role of information and communication technologies (ICTs). The book seeks to critically engage in the political discussion of commons-based peer production, which can be classified into three basic arguments: the liberal, the reformist and the anti-capitalist. This book categorises the liberal argument as being in favour of the coexistence of the commons with the market and the state. Reformists, on the other hand, advocate for the gradual adjustment of the state and of capitalism to the commons, while anti-capitalists situate the commons against capitalism and the state. By discussing these three viewpoints, the book contributes to contemporary debates concerning the future of commons-based peer production.
Further, the author argues that for the commons to become a fully operational mode of peer production, it needs to reach critical mass arguing that the liberal argument underestimates the reformist insight that technology has the potential to decentralise production, thereby forcing capitalism to transition to post-capitalism. Surveying the three main strands of commons-based peer production, this book makes the case for a post-capitalist commons-orientated transition that moves beyond neoliberalism.
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This book explores the fundamental contradiction at the heart of the digital environment: technology offers all manner of promises, yet habitually fails to deliver. This failure often arises from numerous problems: the proficiency of the technology or end-user, policy failure at various levels, or a combination of these. Solutions such as better technology and more effective end-user education are often put into place to solve these failures.
Mike Healy argues that such approaches are inherently faulty drawing upon qualitative research informed by Marx’s theory of alienation. Using Marx’s theory, he considers participants in three distinct settings: the workplace of information and communications technology (ICT) professionals; university scholars researching the ethical and societal implications of our digital environment; and a group of pensioners living in South London, UK, undertaking ICT training. By delving beneath the surface of how digital technologies are created, researched and experienced, this study illustrates the contradictory nature of our digital lives, as they directly arise from the needs of capitalism.
The book also places Marx’s theory in contrast to the mainstream approaches derived from Seaman and Blauner. In researching and comprehending ICT, this book reaffirms the superior explanatory power of Marx’s theory of alienation.
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Grant Hutchison (Frightened Rabbit): ‘This book should be mandatory reading for every label, booking agent, manager and tour manager in the business of music and touring so we can all better understand what’s really involved in living the life of a professional musician and the role we all have in making that life as liveable as possible’
Tim Shiel (Double J/Triple J Radio, Australia): ‘The most important book I’ve ever read about music’
‘An eye-opening must read’ ****
Shaun Ryder (Happy Mondays): ‘Holding on to your mental health in this pressured environment is so important and at times so very difficult, I know that all too well. This book lays bare what it is like to live for your music and how it can feel to be a musician today’
The Wire magazine: ‘Poses uncomfortable questions…[and] sheds light on complex issues with compelling thoroughness’
‘Musicians often pay a high price for sharing their art with us. Underneath the glow of success can often lie loneliness and exhaustion, not to mention the basic struggles of paying the rent or buying food. Sally-Anne Gross and George Musgrave raise important questions – and we need to listen to what the musicians have to tell us about their working conditions and their mental health’
Crispin Hunt (Multi-Platinum Songwriter/Record Producer & Chair of the Ivor’s Academy): ‘In this important book, Sally Anne Gross and George Musgrave investigate the relationship between the well-being music brings to society and the well-being of those who create. It's a much needed reality-check, deglamorising the romantic image of the tortured artist’
Adam Ficek (Psychotherapist [Music and Mind]/BabyShambles): ‘A critical and timely book’
Joe Muggs (DJ, Promoter, Journalist [Guardian, Telegraph, FACT, Mixmag, The Wire]): ‘The best guide to what being a musician, and what "the music industry" actually are that I can remember reading’
Andreea Magdalina (Founder of shesaid.so): ‘This book is extremely important....The pandemic is forcing our industry to reinvent itself, once again, and this book is a call to ensure these new systems are fairer for everyone and that they foster a healthier lifestyle’
It is often assumed that creative people are prone to psychological instability, and that this explains apparent associations between cultural production and mental health problems. In their detailed study of recording and performing artists in the British music industry, Sally Anne Gross and George Musgrave turn this view on its head.
By listening to how musicians understand and experience their working lives, this book proposes that whilst making music is therapeutic, making a career from music can be traumatic. The authors show how careers based on an all-consuming passion have become more insecure and devalued. Artistic merit and intimate, often painful, self-disclosures are the subject of unremitting scrutiny and data metrics. Personal relationships and social support networks are increasingly bound up with calculative transactions.
Drawing on original empirical research and a wide-ranging survey of scholarship from across the social sciences, their findings will be provocative for future research on mental health, wellbeing and working conditions in the music industries and across the creative economy. Going beyond self-help strategies, they challenge the industry to make transformative structural change. Until then, the book provides an invaluable guide for anyone currently making their career in music, as well as those tasked with training and educating the next generation.
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London is one of the world’s most popular destinations and visitors contribute approximately £14.9 billion of expenditure to the city every year. Its tourism and events sectors are growing and over the last few years London has received more visitors than ever before. However, detailed accounts of the city’s visitor economy are conspicuously absent.
This book analyses how the capital is developing as a destination through the expansion of tourism and events into new urban spaces. The book outlines how parts of London not previously regarded as tourist territory are now subject to the visitor gaze with tourism spreading beyond established central zones into peripheral, suburban and residential areas – in part propelled by a big rise in peer to peer accommodation use. Simultaneously, London’s airports and sports stadiums and their surrounds are becoming destinations in their own right. New vantage points have been created, allowing tourists to explore the city: from above, at night-time or through tours given by the homeless; via the opening up of the River Thames; or through the transformation of local parks into eventscapes.
The book explores these trends and shows how urban destinations expand. In doing so, it enhances our understanding of London and highlights the growing significance of tourism and events in global cities.
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Not since Marx identified the manufacturing plants of Manchester as the blueprint for the new capitalist society has there been a more profound transformation of the fundamentals of our social life. As capitalism faces a series of structural crises, a new social, political and economic dynamic is emerging: peer to peer.
What is peer to peer? Why is it essential for building a commons-centric future? How could this happen? These are the questions this book tries to answer. Peer to peer is a type of social relations in human networks, as well as a technological infrastructure that makes the generalization and scaling up of such relations possible. Thus, peer to peer enables a new mode of production and creates the potential for a transition to a commons-oriented economy.
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While the individual elements of the propaganda system (or filters) identified by the Propaganda Model (PM) – ownership, advertising, sources, flak and anti-communism – have previously been the focus of much scholarly attention, their systematisation in a model, empirical corroboration and historicisation have made the PM a useful tool for media analysis across cultural and geographical boundaries.
Despite the wealth of scholarly research Herman and Chomsky’s work has set into motion over the past decades, the PM has been subjected to marginalisation, poorly informed critiques and misrepresentations. Interestingly, while the PM enables researchers to form discerning predictions as regards corporate media performance, Herman and Chomsky had further predicted that the PM itself would meet with such marginalisation and contempt.
In current theoretical and empirical studies of mass media performance, uses of the PM continue, nonetheless, to yield important insights into the workings of political and economic power in society, due in large measure to the model’s considerable explanatory power.
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