Joseph F. Turcotte, PhD

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My Latest: Review of ‘Networking Peripheries:Technological Futures and the Myth of Digital Universalism’

networking-peripheries-technological-futures-and-the-myth-of-digital-universalism

“The popular imaginary surrounding the digital, knowledge-based economy (DKE) largely consists of celebratory appraisals of an unfolding political-economic situation based on the “creative destruction” of existing economic and social practices facilitated by the informationalization of previously uncommodified aspects of human existence and social life. From the digital innovation capitals of Western “developed” states, a purportedly universal ethos of technologically facilitated economic growth and human developmentis diffused outward, as transnational financial,trade, and consumer markets are reorganized according to the efficiency gains offered by scalable networked information and communication technologies (ICTs). Creative classes (Florida, 2014), creative economies (UNESCO/UNDP, 2013), and so-called platform economics (Evans, 2011) are celebrated for their purportedly liberating and democratizing effects. Yet, some twenty years afterthe “digital economy” (Tapscott,1996; see also Bell,1976) was first announced and nearly a decade since the “Great Recession,” the global economy itself and the economic prospects of a number of states remain mired in stagnant growth—or worse. In this context, critical scholarship focused on this particular version of the DKE, which had largely been overshadowed in the late 1990s and early 2000s, has received renewed attention and is providing theoretical lenses for analyzing the claims made by techno-optimists as well as the actions taken by businesses, governments, and international organizations seeking to investin and benefitfrom transforming political-economic structurations (cf. Fuchs & Winseck, 2011; Huws, 2015; Morozov, 2013; Ouellet, 2010; Parayil, 2005). The theoretical lens of “informational capitalism” (Fuchs, 2010; Kundnani, 1999) helps foreground concerns about inequitableDKE-based arrangements, highlighting how (and why) knowledge-based resources are converted into informational commodities, which are then marketed and exchanged in transnational trade-based networks, without necessarily benefiting the producers or consumers of these goods and services”

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Feature @IPilogue Post: “‘Made in America’ 2015? The TPP and the Future of Canada’s Digital Economy”

TPP-Special-Issue

“The Trans-Pacific Partnership (“TPP”) agreement pages of both the Office of the United States Trade Representative and the White House display an understandable, if not provocative, logo extolling that the trade deal is “Made in America”. For a trade deal whose negotiations spanned the length of President Obama’s term in office, this is hardly surprising: with the end of his Administration on the horizon, the President is seeking to galvanize public and political support for an initiative he has long championed. However, in the context of a deal said to “set the rules for the 21st century for trade” between 12 countries of differing levels of economic development, such a US-centric system should raise some concern. In the case of Canada and more specifically Canadian copyright law, the TPP’s merits must be measured according to the domestic needs and realities of the country’s existing industries as well as its maturing digital economy. The Government of Canada should ensure that flexibilities and exceptions available in the TPP are creatively employed to mitigate concessions made to trading partners, which international trade agreements necessarily entail.”

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IPOsgoode @IPilogue Post: ‘A Tidal Shift for the Digital Economy?’

“A decade and a half since music industry titans like the rock group Metallica launched legal action to shut down the largest (unauthorized) distributor of recorded content, the ways that fans and audiophiles are able to access music and other cultural resources appear, once again, to be in flux. 2015 has already seen the headline-grabbing launches of two new music streaming services backed by major players with deep pockets: Tidal, spearheaded by recording artist and serial entrepreneur Jay Z; and Apple Music, the revamped music service offered by the world’s most valuable company. These services are set to compete with the streaming music sector’s dominant player, Spotify, and a host of others and, in doing so, may serve as an indication of where the broader digital economy is heading as it continues to evolve.” 

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I Still Remember The First Time that I Saw Public Enemy…

… at Canadian Music Week on in 2007.

Falvor Flav nearly jumped on my hand but I got these photos and a night I won’t forget.

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Congratulations on a much deserved induction into the Rock & Roll Hall of Fame.

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