| 1. |
- Eriksson, Maria, et al.
(författare)
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Spotify teardown : inside the black box of streaming music
- 2019
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Bok (refereegranskat)abstract
- An innovative investigation of the inner workings of Spotify that traces the transformation of audio files into streamed experience. Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. Spotify Teardown contests the tired claim that digital culture thrives on disruption. Borrowing the notion of "teardown" from reverse-engineering processes, in this book a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood. Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made available online. Spotify Teardown combines interviews, participant observations, and other analyses of Spotify's "front end" with experimental, covert investigations of its "back end." The authors engaged in a series of interventions, which include establishing a record label for research purposes, intercepting network traffic with packet sniffers, and web-scraping corporate materials. The authors' innovative digital methods earned them a stern letter from Spotify accusing them of violating its terms of use; the company later threatened their research funding. Thus, the book itself became an intervention into the ethics and legal frameworks of corporate behavior.
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| 2. |
- Fleischer, Rasmus, et al.
(författare)
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The Political Significance of Spotify in Sweden – Analysing the #backaspotify Campaign using Twitter Data
- 2018
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525. ; 10:2, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses the political significance of the streaming music company Spotify in Sweden, taking as a case a coordinated campaign in late spring 2016, known by the hashtag #backaspotify (translated as “support Spotify!”), which was mainly played out on the social media platform Twitter. The campaign is analysed using a set of data retrieved from Twitter, examining both the content and the interactions in 1,791 messages. Results show that the main political issue concerned the lack of access to rented apartments in central Stockholm, and that the main actors in the campaign were predominantly associated with public affairs consultants and the youth wings of political parties belonging to the centre-right. The campaign, however, was very short-lived and had diminished significantly already after two days. We conclude that Spotify transcends its role as a streaming music company, and additionally can be used as a point of reference in political campaigns to promote issues that are of wider scope than the music industry alone.
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| 3. |
- Fleischer, Rasmus, 1978-, et al.
(författare)
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The Political Significance of Spotify in Sweden – Analysing the #backaspotify Campaign using Twitter Data
- 2018
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525 .- 2000-1525. ; 18:2, s. 301-321
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses the political significance of the streaming music company Spotify in Sweden, taking as a case a coordinated campaign in late spring 2016, known by the hashtag #backaspotify (translated as “support Spotify!”), which was mainly played out on the social media platform Twitter. The campaign is analysed using a set of data retrieved from Twitter, examining both the content and the interactions in 1,791 messages. Results show that the main political issue concerned the lack of access to rented apartments in central Stockholm, and that the main actors in the campaign were predominantly associated with public affairs consultants and the youth wings of political parties belonging to the centre-right. The campaign, however, was very short-lived and had diminished significantly already after two days. We conclude that Spotify transcends its role as a streaming music company, and additionally can be used as a point of reference in political campaigns to promote issues that are of wider scope than the music industry alone.
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| 4. |
- Fleischer, Rasmus, 1978-, et al.
(författare)
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Discovering Spotify – A Thematic Introduction
- 2017
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525 .- 2000-1525. ; 9:2, s. 130-145
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Tidskriftsartikel (refereegranskat)
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| 5. |
- Fleischer, Rasmus, 1978-
(författare)
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If the Song has No Price, is it Still a Commodity? : Rethinking the Commodification of Digital Music
- 2017
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Ingår i: Culture Unbound. Journal of Current Cultural Research. - : Linkoping University Electronic Press. - 2000-1525 .- 2000-1525. ; 9:2, s. 146-162
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Tidskriftsartikel (refereegranskat)abstract
- In music streaming services like Spotify, discrete pieces of music no longer has a price, as has traditionally been the case in music retailing, both analog and digital. This article discusses the theoretical and practical implications of this shift towards subscriptions, starting from a critical review of recent literature dealing with the commodification of music. The findings have a relevance that is not limited to music or digital media, but also apply more broadly on the study of commodification. At the theoretical level, the article compares two ways of defining the commodity, one structural (Marx), one situational (Appadurai, Kopytoff), arguing for the necessity of a theory that can distinguish commodities from all that which is not (yet) commodified. This is demonstrated by taking Spotify as a case, arguing that it does not sell millions of different commodities to its users, but only one: the subscription itself. This has broad economic and cultural implications, of which four are highlighted:(1) The user of Spotify has no economic incentive to limit music listening, because the price of a subscription is the same regardless of the quantity of music consumed.(2) For the same reason, Spotify as a company cannot raise its revenues by making existing customers consume more of the product, but only by raising the number of subscribers, or by raising the price of a subscription.(3) Within platforms like Spotify, it is not possible to use differential pricing of musical recordings, as has traditionally been the case in music retail. Accordingly, record companies or independent artists hence can no longer compete for listeners by offering their music at a discount.(4) Within the circuit of capital. Spotify may actually be better understood as a commodity producer than as a distributor, implying a less symbiotic relationship to the recorded music industry.
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| 6. |
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| 7. |
- Fleischer, Rasmus, 1978-
(författare)
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Spotify älskar Muzak
- 2022
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Ingår i: Clarté. - 0345-2085. ; :2, s. 28-33
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 8. |
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| 9. |
- Fleischer, Rasmus, 1978-
(författare)
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”Ryssfrågan” blir allt mer akut
- 2022
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Ingår i: Göteborgs-Posten. - 1103-9345.
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 10. |
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