Sounds in the cloud: Cloud computing and the digital music commodity

Authors

  • Jeremy Morris University of Ottawa

DOI:

https://doi.org/10.5210/fm.v16i5.3391

Keywords:

Cloud Computing, Digitization of the Music Industry, Music Commodity, Digital Music

Abstract

This paper investigates the rise of cloud computing, specifically for music. More than just new technologies for distribution, cloud services establish a fundamentally different relationship between listeners and their music. As the metaphor suggests, the cloud offers an infinite space where music is ever available, but cloud services also act as transient and enclosed spaces where the music we “own” is always at an ethereal distance. Cloud–based music services represent a particular cultural model of music distribution — one that enmeshes users in a network of technologies and a process of continual commodification.

Author Biography

Jeremy Morris, University of Ottawa

Jeremy Morris is a postdoctoral fellow at the University of Ottawa working on a project entitled ?You Can Patent That? Technology and the Business of Patents?. He holds a Ph.D. in Communication Studies from McGill University. His research interests include the current state of the popular music industry, new media, and the digitization of cultural goods and commodities. Jeremy?s dissertation, Understanding the Digital Music Commodity, is available under creative commons license at his Web site, jeremywademorris.com. Jeremy is also a regular contributor and podcaster at Midnight Poutine, a local Web site devoted to music, arts, culture and food in Montreal.

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Published

2011-04-10

How to Cite

Morris, J. (2011). Sounds in the cloud: Cloud computing and the digital music commodity. First Monday, 16(5). https://doi.org/10.5210/fm.v16i5.3391

Issue

Section

Articles