The new romantics: Authenticity, participation and the aesthetics of piracy

Margie Borschke

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The new romantics: Authenticity, participation and the aesthetics of piracy

机译：新浪漫主义者：真实性，参与性和盗版美学

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The participatory, collaborative and open character of networked digital media is thought to disrupt and challenge romantic assumptions and ideals about authorship, authenticity and creative expression, concepts that underpin most copyright regimes. In this article I consider MP3 blogs in the mid-2000s, drawing on an earlier study of MP3 bloggers in the U.S. and U.K. (Borschke 2012a, 2012b). MP3 blogs, like Napster and other forms of unauthorized reproduction, are better understood as cultural practices and artifacts when considered alongside piracy’s long history. The aesthetic consequences and possibilities of forms of expression that are also methods of distribution, are clarified by identifying and examining a tension that connects MP3 blogging to other practices of unauthorized use: that is, the persistence of romantic ideals of creativity, authenticity and authorship even while seeming to deny and disregard them. By acknowledging the poetics of piracy practices (including the aesthetic character of distribution and replication) we can begin to understand how new authenticities build up around networked expression and how the meaning of networked forms of expression, formats, practices and artifacts can change over time.

机译：人们认为，网络数字媒体的参与性，协作性和开放性会破坏和挑战关于作者身份，真实性和创造性表达的浪漫假设和理想，而这些观念和观念是大多数版权制度的基础。在本文中，我将借鉴美国和英国对MP3博客的早期研究（Borschke 2012a，2012b），来研究2000年代中期的MP3博客。结合盗版的悠久历史，将MP3博客（如Napster和其他形式的未经授权的复制）更好地理解为文化习俗和人工制品。通过识别和研究将MP3博客与其他未经授权使用的行为联系起来的紧张关系，可以弄清也是分配手段的美学后果和表达形式的可能性：即，浪漫的创造力，真实性和作者身份理想的持久性同时似乎否认和无视他们。通过了解盗版行为的诗意（包括分发和复制的美学特征），我们可以开始理解网络表达围绕着新的真实性如何建立，以及网络表达形式，格式，做法和人工制品的含义如何随时间变化。

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《First Monday》 |2014年第10期|共11页
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Margie Borschke;
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The new romantics: Authenticity, participation and the aesthetics of piracy

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