Madis Järvekülg
Biographic Data
| ID | 4428795 |
|---|---|
| NAME | Madis Järvekülg |
| GIVEN NAMES | Madis |
| FAMILY NAME | Järvekülg |
| SIGNATURE | JÄRVEKÜLG M |
| AFFILIATIONS | Tallinn University |
| ORCID | 0000-0001-6060-674X |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Imaginaries of decentralized media and rights infrastructures: Alternative approaches to industry disruption and public value creation in Europe
Shifting from Web2 to Web3: The adaptive creator experiences on blockchain-based video-sharing and streaming platforms
Blockchains have inspired imaginaries of a new iteration of the internet, hailed as Web3, where the power of centralized platform companies would be limited and the ownership of personal data and content could be retained by their individual owners and creators. Web3 is expected to facilitate the emergence of novel protocols and platforms that enable decentralized coordination of data and digital assets. This article examines critically the exper…
Toward a decentralized copyright infrastructure as a ‘public service: The case of Digiciti and Estonia
This article investigates the process of collaboration between Digiciti Networks, a private company, and the public sector in Estonia, in their experiment of building a decentralized copyright registry for the music industry. Drawing upon existing research in national innovation policy and music industry studies, we examine our case as an endeavour for collaborative public value creation. We demonstrate that while the Estonian government has esta…
The emergence of promotional gatekeeping and converged local music professionals on social media
The digitalization of creative industries has undermined the business models of legacy media outlets as well as the music industries. This article discusses the two primary ways that legacy media has functioned in the context of the music industries—as a producer of symbolic value and as an engine of music promotion. However, the central aim of this study is to analyze the development of these functions in the new media sphere by identifying musi…
Auto-communicative reconstruction of meaningfulness in musical randomness: Reclaiming musical order on Facebook
This article investigates how music-specific communities on Facebook self-organize in and respond to the digital music ecosystem dominated by streaming platforms such as Spotify and their algorithmic restructuring of music. By building on earlier work on digital platforms as archives, we differentiate between the “old” and “new” orders of music cultures. We also utilize Juri Lotman’s cultural semiotics and his concepts of semiosphere and auto-com…
The Merging of Music Criticism and Music Promotion: Converged Music Industry Professionals on Facebook
This paper explores the changing socio-cultural dynamic between local music entrepreneurs and journalists/critics on Facebook in Estonia. Through the analysis of 32 semi-structured interviews with music industry professionals and experts and observations of their activities on Facebook, the study identifies the decreasing distance between music criticism and music promotion. On the one hand, the music critics once envisioned as ‘autonomous gateke…
The converged promoter, the calculating professional, and the autonomous critic – the presentation of musical authority on social media
This article examines how Estonian music critics and journalists present their selves on social media. Based on in-depth interviews and observations of their social media activities, it proposes a typology of overlapping positions that music critics can adopt on Facebook: the converged promoter, the calculating professional, and the autonomous critic. These positions illustrate how musical authority is disclosed or concealed in specific social me…
From institutionally embedded ‘serious’ to individualized ‘popular’: A report on values and attitudes in Estonian music criticism
This article examines the values and attitudes of Estonian music criticism in print publications. The findings suggest that state-subsidized publications are characterized by Romantic ideology, professionalism, and tradition, and cover almost exclusively classical music, whereas commercial publications review mostly popular music and adopt a more individualized, less normative attitude to music. While transnational studies have referred to the gr…
The converged promoter, the calculating professional, and the autonomous critic – the presentation of musical authority on social media
This article examines how Estonian music critics and journalists present their selves on social media. Based on in-depth interviews and observations of their social media activities, it proposes a typology of overlapping positions that music critics can adopt on Facebook: the converged promoter, the calculating professional, and the autonomous critic. These positions illustrate how musical authority is disclosed or concealed in specific social me…
From institutionally embedded ‘serious’ to individualized ‘popular’: A report on values and attitudes in Estonian music criticism
This article examines the values and attitudes of Estonian music criticism in print publications. The findings suggest that state-subsidized publications are characterized by Romantic ideology, professionalism, and tradition, and cover almost exclusively classical music, whereas commercial publications review mostly popular music and adopt a more individualized, less normative attitude to music. While transnational studies have referred to the gr…
The Merging of Music Criticism and Music Promotion: Converged Music Industry Professionals on Facebook
This paper explores the changing socio-cultural dynamic between local music entrepreneurs and journalists/critics on Facebook in Estonia. Through the analysis of 32 semi-structured interviews with music industry professionals and experts and observations of their activities on Facebook, the study identifies the decreasing distance between music criticism and music promotion. On the one hand, the music critics once envisioned as ‘autonomous gateke…
The converged promoter, the calculating professional, and the autonomous critic – the presentation of musical authority on social media
This article examines how Estonian music critics and journalists present their selves on social media. Based on in-depth interviews and observations of their social media activities, it proposes a typology of overlapping positions that music critics can adopt on Facebook: the converged promoter, the calculating professional, and the autonomous critic. These positions illustrate how musical authority is disclosed or concealed in specific social me…
The emergence of promotional gatekeeping and converged local music professionals on social media
The digitalization of creative industries has undermined the business models of legacy media outlets as well as the music industries. This article discusses the two primary ways that legacy media has functioned in the context of the music industries—as a producer of symbolic value and as an engine of music promotion. However, the central aim of this study is to analyze the development of these functions in the new media sphere by identifying musi…
Auto-communicative reconstruction of meaningfulness in musical randomness: Reclaiming musical order on Facebook
This article investigates how music-specific communities on Facebook self-organize in and respond to the digital music ecosystem dominated by streaming platforms such as Spotify and their algorithmic restructuring of music. By building on earlier work on digital platforms as archives, we differentiate between the “old” and “new” orders of music cultures. We also utilize Juri Lotman’s cultural semiotics and his concepts of semiosphere and auto-com…
Shifting from Web2 to Web3: The adaptive creator experiences on blockchain-based video-sharing and streaming platforms
Blockchains have inspired imaginaries of a new iteration of the internet, hailed as Web3, where the power of centralized platform companies would be limited and the ownership of personal data and content could be retained by their individual owners and creators. Web3 is expected to facilitate the emergence of novel protocols and platforms that enable decentralized coordination of data and digital assets. This article examines critically the exper…
Toward a decentralized copyright infrastructure as a ‘public service: The case of Digiciti and Estonia
This article investigates the process of collaboration between Digiciti Networks, a private company, and the public sector in Estonia, in their experiment of building a decentralized copyright registry for the music industry. Drawing upon existing research in national innovation policy and music industry studies, we examine our case as an endeavour for collaborative public value creation. We demonstrate that while the Estonian government has esta…
Imaginaries of decentralized media and rights infrastructures: Alternative approaches to industry disruption and public value creation in Europe
Sociology (7 works) · Political science (6 works) · Art (5 works) · Music History and Culture (5 works) · Public relations (5 works) · Aesthetics (4 works) · Business (4 works) · Visual arts (4 works) · Computer Science (3 works) · Criticism (3 works)