Brian Fauteux questions the theoretical “celestial jukebox” of algorithm-driven music streaming services and the actual variety and access their catalogues offer, and compares it to campus radio stations and their rich libraries of more local and diverse music.
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In his second column, Brian Fauteux, drawing on insights from The Cultural Capital Project, examines the ways digital music industry executives have dominated the narrative of streaming music and argues for more voices from the creative laborers who produce content for the streaming music giants.
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Brian Fauteux takes readers through his experience participating in Canada’s copyright review process. The author particularly highlights how the current state of the market allows for large companies to have a great deal of control over artists.
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Flow has published articles from over 700 authors in its 17-year history – from the tenured senior scholar to the graduate student junior scholar. Flow‘s authors are spread all across the Americas – from New York to California and from Canada to Brazil – and across the globe – from England and Scotland to New Zealand and Australia, to Singapore and beyond. […]
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An argument for the significance of the videotape as a lively and important object of academic research.
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Flow has published articles from over 700 authors in its 14-year history – from the tenured senior scholar to the graduate student junior scholar. Flow‘s authors are spread all across the Americas – from New York to California and from Canada to Brazil – and across the globe – from England and Scotland to New Zealand and Australia, to Singapore […]
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