Benjamin, BitTorrent, Bootlegs: auratic piracy cultures?

Please use this identifier to cite or link to this item: http://hdl.handle.net/10045/21907
Información del item - Informació de l'item - Item information
Title: Benjamin, BitTorrent, Bootlegs: auratic piracy cultures?
Authors: Rodríguez-Ferrándiz, Raúl
Research Group/s: Industrias Culturales Hoy: Producción, Difusión, Gestión y Consumo de Productos Culturales en la Era de la Información (IICCXXI)
Center, Department or Service: Universidad de Alicante. Departamento de Comunicación y Psicología Social
Keywords: Piracy | Culture | Benjamin | Aura | Mechanical reproductibility | Digital | Postproduction
Knowledge Area: Comunicación Audiovisual y Publicidad
Date Created: 28-Mar-2011
Issue Date: 15-Apr-2012
Publisher: University of Southern California. Annenberg Press
Citation: RODRÍGUEZ FERRÁNDIZ, Raúl. “Benjamin, BitTorrent, Bootlegs: auratic piracy cultures?”. International Journal of Communication. Vol. 6, Special Section Piracy Cultures (2012). ISSN 1932-8036, pp. 396-412
Abstract: Seventy-five years ago, Walter Benjamin showed us that the line between "production" and "reproduction" had begun to blur. Reproduction was no longer optional, consequential and degrading (the shredding of the original’s aura), but was instead being transformed into a principle of production itself: something was produced bearing in mind how it was to be reproduced. No longer did the original exist (in photography, film, music recordings), but instead diffusion, exhibition. The work existed precisely at the time and place of its enjoyment. Today, the cultural pirates of the new digital era take this principle to the extreme, with a certain characteristic also foreseen by Benjamin: a yearning to participate, to post-produce something captured in order to later return it to the Internet, modified in some way and made available to others. This postproduction is what is now often mixed up with reception, just as production and reproduction used to be in Benjamin’s day. Postproduction on the receiver’s side, which somehow augments and extends the received work, in other words creates an etymologically rigorous author-ization (auctor as the root of both author and augmentation). The cultural pirate only deserves redemption thanks to this creative augmentation.
URI: http://hdl.handle.net/10045/21907
ISSN: 1932-8036
Language: eng
Type: info:eu-repo/semantics/article
Rights: Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0
Peer Review: si
Publisher version: http://ijoc.org/ojs/index.php/ijoc/article/view/1187
Appears in Collections:INV - IICCXXI - Artículos de Revistas

Files in This Item:
Files in This Item:
File Description SizeFormat 
Thumbnail711.pdf334,03 kBAdobe PDFOpen Preview


Items in RUA are protected by copyright, with all rights reserved, unless otherwise indicated.