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Perhaps a stronger threat to the profitability of the ringtone industry lies in the development of strategies and technologies by consumers and companies to create ringtones at inexpensive prices. Ringtone piracy by small companies and individual users, in the manner of MP3 files, is rampant worldwide, particularly in Asia — where music piracy in many forms is widespread [34]. In this case, ringtone Web sites are selling ringtones based on copyrighted material at low prices without paying licensing fees to music publishers or record labels. With the appearance of the sound file ringtone, the potential for free duplication of ringtones seems limitless, as it could easily follow the MP3 model of peer–to–peer distribution. Despite the much–vaunted ability of the cell phone to monitor and control individual transactions — which is not equally true of Internet activities — some software companies are creating products for combining peer–to–peer file sharing with ringtone creation [35]. Furthermore, even legal enterprises have produced technologies that threaten ringtone consumption. Xingtone, a company founded in early 2003 and based in Los Angeles, has produced a downloadable computer program that allows an individual to transform any sound file (from a CD or an MP3, for example) into a sound file ringtone. After a consumer pays the one–time fee of US$15 for the software, she can easily produce ringtones for her phone without any further cost. Brad Zutaut, the CEO and co–founder of the small company, has stated repeatedly (with the support of the Recording Industry Association of America) that the program falls under the domain of fair use in copyright law. Beginning his enterprise from the impulse of wanting to make ringtones that were not commercially available, Zutaut argues that ringtones, which are merely data transfers, should not be so expensive and that “ring tones are not going to save the music industry” [36]. The company seems to have been successful and has pioneered music promotion deals with record labels like Disney’s Hollywood records and the independent Artemis Records (whose band Sugarcult released a single from its album via ringtone in partnership with Xingtone). More recently, Xingtone has received financial support from Siemens to expand its operations [37]. Although Zutaut has stated that the company has a three– to five–year window, it is unclear whether Xingtone will be bought out by a major media or entertainment conglomerate — whose business interests might seem to conflict with those of the company [38]. Other companies such as ToneThis (also from LA) have followed Xingtone’s lead and are producing similar software packages [39]. Since the software in question has appeared recently and only affects sound file ringtones, it remains to be seen whether it, or pirated versions thereof, will have an impact on global ringtone sales or prices. It certainly is the case that piracy generally eats into ringtone sales — for example, an estimated 90 percent of ringtones in Malaysia are pirated — and the recording industry is attempting to forestall further declines in profits by eradicating what it refers to as a piracy “epidemic” [40].
We might interpret the visual, sonic, and technical references of Dialtones in three ways. First, the music in combination with the visual effects seems to evoke a kind of atomized connectedness associated with global digital communications. The phone–triggered LEDs and reflecting mirror activate the otherwise inactive grid, which resembles both an illuminated microchip and a time–lapse–filmed apartment building whose lights somewhat randomly go on and off during the night. At this level, the music seems to be about connectedness, communicating the notion that we as participants are part of a bigger global phenomenon around us — and the participants holdi