Information technology: futurism, corporations and the state

The significance of information technology (IT)' lies in the breadth of its potential impact on society: on work, communications, political processes, education and entertainment. It offers not just the possibility, in the current economic crisis, of restructuring work in order to gain greater control over that process the better to increase productivity, but also the possibility of a new cycle of growth in both capital and consumer goods, facilitating the restructuring of modes of consumption and the strengthening and recomposition of capital over patterns of leisure, communication and entertainment

Remixing Cinema: The case of the Brighton Swarm of Angels

Disintermediation, web 2.0, distributed problem solving, collaborative creation/art, user-centred innovation, creative common

Taking apart the roads ahead: user power versus the futurology of IT

How often have futurologists ever succeeded in making accurate global predictions? Bell’s utopian vision of a leisure-laden ‘Post-Industrial’ society now seems hopelessly naive; Fukuyama’s ‘End of history’ thesis was arguably just a fleeting Reaganite delusion about the stabilization of post Cold War politics. Notwithstanding the failure of such widely hailed prophesies, and despite the lack of any well-attested laws about the historical development of information technologies, a brazenly upbeat futurology pervades many debates on new IT. This is most obviously the case in Bill Gates’ recently updated The Road Ahead. To challenge Gates’ prognostications about the future of information technologies, I will argue for the importance of users (vis-à-vis producers) in the social shaping and ‘consumption’ of IT, especially the power of many (if not necessarily all) such users to resist falling into futures that others prescribe for them. I contend that the non-passivity of IT users undermines the cogency of any claims about the inevitability of technological change, and helps to explain why so many past ‘futures’ of IT have never fully materialized

Game Changer: Investing in Digital Play to Advance Children's Learning and Health

Based on a literature review and interviews with digital learning experts, explores how digital games can foster skills and knowledge for better academic performance and health. Makes recommendations for government research, partnerships, and media

Hail to the thief: a tribute to Kazaa

THIS PAPER CONSIDERS THE ONGOING LITIGATION against the peer-to-peer network KaZaA. Record companies and Hollywood studios have faced jurisdictional and legal problems in suing this network for copyright infringement. As Wired Magazine observes: “The servers are in Denmark. The software is in Estonia. The domain is registered Down Under, the corporation on a tiny island in the South Pacific. The users—60 million of them—are everywhere around the world.” In frustration, copyright owners have launched copyright actions against intermediaries—like against Internet Service Providers such as Verizon. They have also embarked on filing suits against individual users of file-sharing programs. In addition, copyright owners have called for domestic- and international-law reform with respect to digital copyright. The Senate Committee on Government Affairs of the United States Congress has reviewed the controversial use of subpoenas in suits against users of file-sharing peer-to-peer networks. The United States has encouraged other countries to adopt provisions of the Digital Millennium Copyright Act 1998 in bilateral and regional free-trade agreements

Sunk costs and the dynamics of creative industries

This chapter examines the long-run evolution of modern entertainment industries such as the film and music industries. It investigates ways to conceptualise and quantify the subsequent waves of creative destruction, and investigates specifically how sunk costs affect the evolution of the industry through its interaction with variety, market integration, product differentiation and price discrimination, and how old entertainment formats almost never became extinct. It finds that within this framework, four economic tendencies shaped the entertainment industries evolution: first, endogenous sunk costs often led to a competitive escalation of production expenditures, which we call ‘quality races’, which increased industrial concentration. Second, the fact that marginal revenues largely equalled marginal profits led to extreme vertical integration through ownership or revenue-sharing contracts, as well as to an oversupply of variety and a dual market structure with high-concept blockbuster products and low-budget niche products. Third, entertainment’s public good characteristics led to substantial income inequality among creative inputs and business models optimising exclusion possibilities in the value chain. Finally, the project-based character of entertainment production implied large intra- and inter-industry agglomeration benefits and often led to geographical concentration. Dynamic product differentiation allowed various old formats to survive the waves of creative destruction, albeit in much smaller incarnations

Analysis and Summary of Feasible Marketplace Business Models Covering All Trials

This report analyses the market for cloud services of the type that POSTMARK is pioneering including type, scale, readiness and barriers to adoption. The POSTMARK trials are reviewed in terms of the business benefits that the services offer, the validation of these by those involved in the trials, and the further work needed to move from trials to a fully commercial and production setting. Business benefits were wide ranging and included lowering costs, better meeting of deadlines, increase in volume of business, and improved customer service. Response from the trials was positive in all cases. This was echoed by the two public demonstration events hosted by the project in 2012 where the attendees (around 100 in total from the film and post communities) were positive about the services that POSTMARK is offering. The main barriers encountered were security, the need for high levels of availability and trust, the need for complete out-of-the box solutions, and of course concerns over cost. These mirror findings in industry surveys and analyst reports. These barriers are not insurmountable but do require further investment to address. The key question is whether the market as a whole is sufficiently aware of, and ready to adopt, new services of the type developed by POSTMARK.Indications are good, but large scale adoption would be necessary to give sufficient return on the investmentneeded to provide fully operational POSTMARK services on a supported and commercial basis

New Media and the Quality of Life

We are currently in the middle of a revolution. This revolution, sometimes called the digital revolution, is the revolutionary transformation brought about in the information and communication structure of society by the advent of the digital computer, with most of the major transformations having taken place in the past thirty years. Digital computing technology has generated the mainframe and personal computer, the multimedia computer, and computer networks. It has also transformed the telephone system and the monetary system, it is transforming all kinds of conventional products ranging from washing machines to automobiles, and it is on its way to change television as well. More than ever, contemporary society is an Information Society, in which the importance of information and communication is much greater than in past societies, and of which technologies that facilitate information and communication processes are a central societal feature. In this paper, I want to evaluate the implications of contemporary information and communication media for the quality of life, including both the new media from the digital revolution and the older media that still remain in use. My evaluation of contemporary media will proceed in three parts. In the section to follow, the benefits of contemporary media will be discussed, with special emphasis given to their immediate functional benefits. The section thereafter is devoted to a discussion of four potential threats posed by contemporary media. In a final major section, I look at the future of digital media and the possibilities available to us in shaping that future. A short concluding section ends the paper