Hypebot über Digital Natives und die Musikindustrie

Hypebot hat einen fantastischen Fünfteiler am Start, der literarisch und existenzialistisch beginnt (ein Roboter rätselt darüber, ob er selbst, das System oder etwa beide kaputt sind und ob er es kaputt gemacht hat oder etwa das System selbst und so weiter und so fort), dann die Geschichte des „Problems“ anhand der zwei P2P-Meilensteine Napster und Pirate Bay erzählt und schließlich anhand der persönlichen Geschichte des Autors die Auswirkungen der Vernetzung der Fans in Communities auf die Musik-Kultur. Unbedingter Lesebefehl, das hier ist fantastisch!

I am a broken robot and don't know why. Yet what most profoundly perplexes me is whether or not I,Robot-toy myself, am the one that's broken or if it’s the system itself that's actually broken. If the correct connotation is that the system is broken, how to we determine if it was broken before I came into the world or if, due to the behaviors that I developed in my digital youth and carried into adulthood, I'm a part of the generation responsible for breaking it? [...]

The behavior patterns in music fans have visibly changed in large numbers and sustained, resulting in a social change. These changes in behavior patterns are seen as a deviance from culturally inherited values of The Record Industry and prosecution is deemed as the only option. Resulting in a rebellion against established industry, forcing change in the social order called iTunes. The problem is that you can't reverse engineer the wide scale adaption of new technologies through dominance once social change has occurred. In trying to stop piracy, The RIAA spread it further by fragmenting the media landscape. [...]

“From the prospective of a Digital Native, identity is not broken up into online and offline identities or personal or social identities. Because these forms of identity exist simultaneously and are closely linked to one another, Digital Natives almost never distinguish between the online and offline versions of themselves.”

Digital Natives are moving to online experiences, which seems inevitable because, “At a time when so much of the structure that holds together music culture has disappeared,” Eric Harvey of Pitch Fork writes, “fans could take the initiative to create a new one.” These natives have only just begun to shape and carve out their vision of what online culture should consist of.

A Generation of Broken Robots, Youth Culture, Online Fandom and Community, Conclusions