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dc.contributoren-US
dc.creatorRemneland Wikhamn, Bjorn
dc.creatorKnights, David
dc.date2016-10-11
dc.date.accessioned2019-05-03T13:21:43Z
dc.date.available2019-05-03T13:21:43Z
dc.identifierhttps://www.jotmi.org/index.php/GT/article/view/2135
dc.identifier10.4067/S0718-27242016000300005
dc.identifier.urihttp://revistaschilenas.uchile.cl/handle/2250/87056
dc.descriptionMost studies on disruptive innovations adopt technology-centric assumptions when explaining how industries are affected by a technology’s creative destruction. This paper argues that the power of a technology lies in how it performatively associates with the cultural and social norms of the wider society. Hence, a technology is not disruptive or sustaining in itself but is potentially a productive outcome of network linkages with other social and material elements. To illustrate this claim, two digital music services will be analyzed, respectively a misfit and a maverick both challenging mainstream providers of music – The Pirate Bay and Spotify – in relation to each other and how they are positioned toward the transformation of the music industry as a whole.en-US
dc.formatapplication/pdf
dc.languageeng
dc.publisherFacultad de Economía y Negocios, Universidad Alberto Hurtadoen-US
dc.relationhttps://www.jotmi.org/index.php/GT/article/view/2135/1037
dc.rightsCopyright (c) 2016 Journal of Technology Management & Innovationen-US
dc.rightshttp://creativecommons.org/licenses/by/4.0en-US
dc.sourceJournal of Technology Management & Innovation; Vol 11, No 3 (2016); 40-49en-US
dc.sourceJournal of Technology Management & Innovation; Vol 11, No 3 (2016); 40-49es-ES
dc.source0718-2724
dc.subjectInnovation; disruptive technologies; discontinuous innovation; radical innovation; digitalization; translation; Actor Network Theory; music industry; Spotify; The Pirate Bayen-US
dc.titleAssociations for Disruptiveness: The Pirate Bay vs. Spotifyen-US
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typeArtículo revisado por paresen-US


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