But what if, for a moment, we turned our attention to the empirical evidence of media consumption practice, not just in Asia, Africa, and South America, but also all over Europe and North America? All over the world, we are witnessing a growing number of people building media relationships outside those institutionalized sets of rules. That is, we look at content and the way people interact with it within a given system of thought that sees content and its distribution channels as the product of relationships between media companies, organizations, and individuals-effectively, a commercial relationship of a contractual kind, with accordant rights and obligations. We look at TV, radio, newspapers, games, Internet, and media content in general, all departing from the idea that the access to such content is made available through the payment of a license fee or subscription, or simply because it's either paid or available for free (being supported by advertisements or under a "freemium" business model). What are "Piracy Cultures"? Usually, we look at media consumption starting from a media industry definition. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. The spread of cassette recorders in the 1970s the introduction of analogue and digital video formats in the 80s and 90s the pervasive availability of recycled computer hardware the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity. This is particularly convenient to execute asynchronous side effect actions.The downstream receives the original event, or a failure if the consumer throws an exception or if the produced Uni emits a failure.Įmits a failure when it receives the event.Įmits the completion event when it receives the event.Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The downstream receives the original event, or a failure if the consumer throws an exception This is particularly convenient to execute side effects actions. If the produced Uni emits a failure, that failure is passed to the downstream. The downstream receives the item emitted by the produced Uni (or a failure if the transformation failed). Transform the event into another event using an asynchronous function. OnItem().transformToUni(Function> function) The downstream receives the result of the function (or a failure if the transformation failed). Transform the event into another event using a synchronous function. Check the full list of events on the event documentation.
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