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Against the Digital Revolution?

Author

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  • Antoine Blanc

    (DRM - Dauphine Recherches en Management - Université Paris Dauphine-PSL - PSL - Université Paris sciences et lettres - CNRS - Centre National de la Recherche Scientifique)

  • Isabelle Huault

    (DRM - Dauphine Recherches en Management - Université Paris Dauphine-PSL - PSL - Université Paris sciences et lettres - CNRS - Centre National de la Recherche Scientifique)

Abstract

In this paper, we examine the issue of how certain actors tend to maintain institutionalized elements, in spite of significant technological and social change. In particular, we focus on the notion of artifacts, which represent one type of institutional carriers, but mostly overlooked in the institutional literature. We approach this issue through an in-depth study of actors' efforts to maintain institutions in a "mature" creative industry such as the French recorded music from 2004 to 2008. Our study focuses on the relationship and interaction between actors engaged in institutional maintaining and artifacts. To do this, we have interviewed 26 different individuals in the music sector and constituted a rich base of secondary data. Our results point out that the recorded music industry, in spite of a so-called digital revolution, is still framed by persistent artifacts. These latter convey particular rules, norms and understandings that impede some potentialities of the digital revolution. We also underline the active efforts of some actors to defend existing institutionalized arrangements, especially through manipulation of artifacts.

Suggested Citation

  • Antoine Blanc & Isabelle Huault, 2011. "Against the Digital Revolution?," Post-Print halshs-00685464, HAL.
  • Handle: RePEc:hal:journl:halshs-00685464
    Note: View the original document on HAL open archive server: https://halshs.archives-ouvertes.fr/halshs-00685464
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    References listed on IDEAS

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    Cited by:

    1. Alix Poels, 2016. "« Attrape-moi si tu peux » : Consommateurs ordinaires et rôle de la matérialité dans la pérennisation d'une pratique illégale de consommation," Post-Print hal-01385127, HAL.
    2. Shen, Xiaobai & Williams, Robin & Zheng, Shufeng & Liu, Yinliang & Li, Yixiao & Gerst, Martina, 2019. "Digital online music in China – A “laboratory” for business experiment," Technological Forecasting and Social Change, Elsevier, vol. 139(C), pages 235-249.
    3. Pierre-Jean Benghozi & Elisa Salvador, 2015. "Technological innovation and R&D. The disregarded dimension of the creative industries: the case of book publishing," Economia della Cultura, Società editrice il Mulino, issue 2, pages 255-268.
    4. Anne Vancaelemont, 2015. "The power of objects ? Materiality and institutional work in the French recorded music industry (1994-2014)," Post-Print hal-01267723, HAL.
    5. Sylvain Colombero, 2015. "The selection criteria of collective bricolage: the case of the Listed-Buildings Institution," Post-Print hal-01148197, HAL.
    6. Pierre-Jean Benghozi & Elisa Salvador & Jean-Paul Simon, 2018. "The race for innovation in the media and content industries: legacy players and newcomers. Lessons from the music and newspaper industries," Post-Print hal-02091962, HAL.
    7. Pierre-Jean Benghozi & Elisa Salvador, 2015. "Technological competition: a path towards commoditization or differentiation? Some evidence from a comparison of e-book readers," Post-Print hal-02080207, HAL.
    8. Elisa Salvador & Jean-Paul Simon & Pierre-Jean Benghozi, 2019. "Facing disruption: the cinema value chain in the digital age," Post-Print hal-02300929, HAL.
    9. Sylvain Colombero, 2016. "The Interpretative Frame: the link between the Institution and its Artifact Carrier," Post-Print hal-01302428, HAL.

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    Keywords

    artifacts; digital revolution; recorded music industry; institutional maintenance; artifacts.;
    All these keywords.

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