The aim of this study is to tell the story of how one artefact, Napster, entered a network of music production and distribution and challenged the ‘status quo’ as well as opening up new opportunities for actors involved in this area.To account for the challenges and opportunities arising from the interaction of this artefact with said environment I see a ‘social paradox’ as instrumental in escalating innovative incentives. This paradox addresses the reciprocal relationship between a ‘corporate’ and a ‘counter culture’. To explore the co-dependency as well as the ‘tensions’ between these cultures I have relied on earlier studies of this field(mainly Toynbee and Negus) as well as the writings of Deleuze and Guattari. To track the development of the Napster ‘story’ I have searched for ‘clues’ in newspaper and magazine articles and interviews as well as web-sites as regards to the ‘inscription’ and ‘translation’ activities concerning the artefact.These concepts from ‘Actor-Network Theory’ where utilized to gain insight into the nature of the interaction between actors and the forces involved in the expansion and transmogrification of the network ‘geography.’ The sum total of statements made as well as data showing that while download activities services, on the net were, and are still escalating without a verified connection to a drop in CD sales this case does well exemplify the constructive nature of the ‘social paradox’ examplified further by the escalation of developing ‘control’ software and subscription services.This, in addition to illuminating the importance of the inscription process for negotiating, through translations, a successful outcome for a‘project.’ The paradox facing Napster as of today is that the ‘deal’ they struck with users through the inscription was rejected by the Recording Industry Association of America which through the courts, forced Napster to ‘re-inscribe’-change ‘the deal’ with the users. So, now the company faces another negotiation, translation process with the users.