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This paper is focused on collaborative creation, as an exponent of emerging creative practices considered as a promise for the creative industries, trying to find innovative ways to create or distribute contents in a digital landscape driven by uncertainty. This is particularly relevant in the case of the music industry, considered as the first and foremost victim of user-driven practices like file sharing. Beyond well-known discourses on piracy, the music industry -and musicians- are engaged in a continuous process of re-invention, trying to reinstate the ties with consumers long lost through a system based on scarcity and successive booms of sales (and re-sales) of physical support recordings.
Drawing from our previous research on playful practices and negotiation and conflict (Ardèvol et al, 2011, Roig et al, 2013), our aim is to explore and analyze how rules are constituted in creative practices that are oriented to foster playful appropriation, enactment and/or co-creation of cultural objects in music. We will present an early analysis of Beck Hansen’s co-creation project Song Reader and specific remix experiences through a comparative research focused in music creation/ appropriation.