McVey, Chris

Share and Exchange: Habits of the virtual music collector

Abstract

This paper looks at the continuing adaptations of the file sharing phenomenon with reference to the oppositional aims of the music industry and the file-sharers taking part, within a framework of reference to the music industry and intellectual property rights. Through utilisation of legal and democratic processes, the music industry has sought to outlaw the file-sharing movement, through recourse to intellectual property laws. Although this argument against file-sharing has been upheld in the courts, the 'free' share and exchange of files continues. Utilising Thornton's (1997) description of public (rational individuals) and sub-culture (disenfranchised, unofficial), the file-sharing movement can be studied as a sub-cultural movement. This demands that the so-called 'virtual community' be re-examined for sub-cultural elements. The research examines the form of the movement, analysing the social networks, the knowledge and information culture within and evidence of sub-cultural capital (Thornton, 1995). The existence of levels of social network of varying complexities within the file sharing movement is discussed, as is the level of social cohesion provided by these groups. It is shown that, for some of those involved, the music 'swapped' is less important as music than as the subject of the exchange process.