Found on the Spectrial blog page (some translation of some new text):
“In the shadow of the final crisis of the cultural industry in the 21st century, a larger picture grows of powehr, broccoli, and Kopimi. Every step of the failures of the cultural business is followed by the spooky successes and structurally diffuse spread of an Internet elite, all over the world. The book you’re reading has no author, no designer, no typesetter, and no means of distribution. Still it’s right before you. How did this happen?
Read the frightening instructions that a loosely connected nucleus of IT experts implanted into the network existance of an unsuspecting generation of youths, and about how the group stole the eggs, dollarsh, and jpegs away, right before the very eyes of the establishment, and powerful financial interests. Read about how serversh, seedersh, traeckers, mails, corporate contracts, foreign inverstors, Ikko’s allowance, scandalous ads, links, and search engines infiltrated and ruined a world, that had nobody to turn to, nobody to seek advice from, and nobody to trust…
This machine that is operationg below radar frequencies, moves unhindered from the jungle’s of Cambodia to the gay … of San Fransisco, by the empty beaches of Tel-Aviv, and into the internet connections of regular people of the suburbs to Jönköping or the harbour of Göteborg. It leaves nobody untouched and destroys everything in its way. Technically superior and physically independent, it continually transforms, metamorphoses, and reappears, in everchanging incarnations and under different code names. While strangling it’s opponents, it remains untouchable, and even more so — incomprehensible.
It has been said that this is the first time Kopimi frees the world, but we can rest assured that it will not be the last”
A completely different picture of how young creative and talented people still believe in the authority and power of the established institutions in the music industry can be found on a Swedish musician forum I participate on. The majority of hopeful guitar heroes and songwriters who post questions there are asking for advice on how to get recognized by the big record companies, how to become members of famous rock groups, how to sell their poor poetry as song lyrics to the stars, and thinking that they have a right to get a musical education free (all public education is free in Sweden) just because they want to make a living from music, not because they have something to contribute in the arts or entertainment business and are prepared to do the work to get there (practice, gigs, studying, auditions, etc). But it’s the lack of alternative ideas for how to do something with their talent and musical interest that surprises me most.