ABSTRACT
Michael Chanan was writing in 1994, just as the Internet began to take shape and the digital culture to form. The living and breathing music he predicted still fi nds its most vivid expression in performance situations, where many of his threats to private property pass through the momentary forms of samplings and borrowings, of mash-ups and remixes, of nods and homages, cut and paste. However, thanks to these technological developments, the ‘immanent criteria’ of today’s music seem once again to have become those of the community.
