This paper explores the ways in which John Berger's theory of art (as expressed in Ways of Seeing) can be applied to the digital reproduction of music, and what this means for its distribution in peer-to-peer networks. The paper also draws upon the work of Walter Benjamin to put together a cohesive theory that the music recording and distribution industry is capitalizing on the mystification of the artist/musician's role in order to convince the consumer that they are buying artistic authenticity, when in reality they are purchasing the same daydream that Berger describes at the end of his book.
