دانلود کتاب This is Not a Remix: Piracy, Authenticity and Popular Music

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FC\nHalf title\nTitle\nCopyright\nContents\n1 This is not a remix\n 1.1 Introduction\n 1.2 Critical approach\n2 Copy, a brief history\n 2.1 The ghost in the digital machine\n 2.2 The trouble with media history\n 2.3 “Again, back”: Repetition and music’s materiality\n3 The rhetoric of remix\n 3.1 Remix as trope\n 3.2 The extended remix: In the press\n 3.3 The extended remix: Scholarly use\n 3.4 Lawrence Lessig’s “Remix Culture”\n 3.5 Remix as resistance\n 3.6 Why the history of remix matters\n4 Disco edits: Analog antecedents and network bias\n 4.1 What a difference a record makes\n 4.2 Interrupting the rhetoric of remix\n 4.3 Disco edits, a technical distinction\n 4.4 Hang the DJ\n 4.5 Walter Gibbons, the break, and the edits that made disco\n 4.6 Let your body talk\n 4.7 Are samples copies?\n 4.8 Parasites, pirates, and permission\n 4.9 Digital revival and an analog persistence\n 4.10 Credit to the edit\n5 The new romantics\n 5.1 Piracy’s long history\n 5.2 MP3 blogs as social media\n 5.3 Material media: MP3 blogs as artifacts and practices\n 5.4 Provenance as metadata\n 5.5 Rethinking participation and the folk aesthetic\n 5.6 Countercultures and anticommercialism\n 5.7 Networking authenticity\n 5.8 Analog antecedents: Harry Smith’s mystical collection\n 5.9 Copies, networks, and a poetics of encounter\n6 Copies and the aesthetics of circulation\nAcknowledgments\nBibliography\nIndex