The creative industries have become increasingly globally interconnected as technologies of distribution develop and intellectual property regimes become ever more integrated internationally. So what happens to musical creativity and ownership when copyright arrives in a country on the margins of the global North? How do local actors adapt and respond to internationally-derived IP laws as they are implemented?

Much of the cutting-edge work in media theory today draws on neuroscience, citing specific patterns of neuronal “firing” as a sign of certain emotions, perceptions and cognitive operations. The potential danger of this novel field of “neurocinematics” is that it reduces the complexity of the spectators’ engagement with art to biological mechanisms, ignoring the subjects’ socio-cultural background, psychological experiences and situational awareness.