And so we found ourselves confronting a system of power based upon ideas of property relations that the technology of the owners was already making obsolete. It is not possible for industrial organizations to do a better job of distributing music than 12 year-olds can do. Hence the world in which the music industry confronts the children on the barricades, attempts to jail them, fine them, control them, and loses. The same is true for all the other forms of art given to us by the 20th century and being freed by the very technology that the controllers of artists hoped would control art even further. This, like the adoption of movable type printing at the end of the 15th century, constitutes a moment at which the powers of control have adopted technology which transforms their conditions of existance, will they, nil they. They do not will it but it happens to them anyway. And the technology that they have freed, like the sorcerer's apprentice, finds itself overwhelmed by its own implications