Far from its appearance in popular discourse as the domain of unscrupulous thieves, hacking is a source of creative innovation that, if deployed and explored in a spirit of genuine experimentation, has the potential to create the kind of disruptive invention that music industries need to develop in the twenty-first century. The domain of creative technology rewards a playful and transgressive approach that challenges existing notions of what behaviours and artefacts are appropriate to the creation, production, distribution, promotion and consumption of music. Facilitating, supporting and investing in hacks rather than attempting to contain or control them provides the environment within which it is possible to make the most of these opportunities. Through repeated experimentation, repurposing, rebuilding and playing with technologies, music hackers are more likely to stumble upon the key to a new music industry opportunity than someone who is simply sitting at a desk attempting to invent the next big thing.
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