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About Annual Meeting
By applying the labour process theory approach, this study proposes a critical conceptualization of the relations between creative production and alternative copyright frameworks, known as copyleft. The theoretical foundation of this paper underscores that a thorough study of copyleft in the creative industries requires an examination of the legal context of work and workflow activities connected to the creation, distribution and consumption of content. This study is based on interviews with creators of sampled music, who actively participate in the consumption and production of content that is distributed using the Creative Commons. Drawing on this case, I show how relying on copyleft helps to manage structural limitations that result from the nature of creative labour and the realities of a market regulated by classic intellectual property. The evidence shows that copyleft fulfils an important function, providing a legal framework for non-market content distribution based on use value. In parallel to non-market transactions, copyleft supplements exchange value extraction from content via the market and promotes labour commodification typical to traditional models of copyright protection. The analysis also reveals the community-related outcomes of copyleft. It works as an evaluation mechanism and a filter for content that is similar to classic music scenes. I argue that this study of the copyleft in the music industry offers a powerful tool to better understand the shifts caused by increased digital mobility of cultural goods and the way the position of creators is shaped in this context.