Transnational Culture in the Internet Age
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Transnational Culture in the Internet Age

Edited by Sean A. Pager and Adam Candeub

The insightful contributions shed new light on insufficiently examined issues and highlight connections that cut across the many different domains in which such regulations operate. Building upon the framework presented by David Post – one of the first and most prominent scholars of cyber law and a contributor to this volume – the authors address the implications and economics of the Internet’s astronomical scale, jurisdiction and enforcement of the web as it relates to topics including libel tourism and threats to free speech, and the power of global communication to dissolve and recreate identities.
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Chapter 13: Decolonizing Networked Technology: Learning from the Street Dance

Larisa Mann


Larisa Mann* 13.1 INTRODUCTION The presence of globally networked technology – mobile and smartphones, digital cameras, video game players, personal audio recorders and players, and computers that connect to a global communication network – is increasingly a fact of life for people all over the world. Since these technologies are widely used to create, copy, and transmit creative works (music, text, images), they all implicate copyright law. Thus, copyright has emerged as a key force shaping the use of globally networked technology and the increasingly digitized culture that such technology enables. This chapter examines the use of globally networked technology in and around the Jamaican street dance, a site of Jamaican popular music-making. It will explore the dangers and the advantages that the increasing ubiquity of globally networked technology holds for Jamaican musicians, who must navigate an infrastructure of internal and external techno-colonialism when seeking access to new opportunities for personal and community advancement. The Jamaican example matters for several reasons. First, Jamaica has developed a vibrant music industry that enjoys international stature without stringent local copyright enforcement.1 This makes it an inter- * The author is indebted to the colleagues, mentors and editors who generously gave their time to assist in improving this chapter, including Prof. Sean Pager, Prof. Esther Kingston-Mann, Brady Kriss (Esq.), and Kendra Salois, and to the Center for the Study of Law and Society at UC Berkeley Law School. 1 Jason Toynbee, Reggae Open Source: How the Absence of Copyright Enabled the Emergence of Popular Music in Jamaica,...

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