In article <g9jel21rrcoe309e2974nar34gph2luceb.RemoveThis@4ax.com>,
Rob <noemailformethx.RemoveThis@jsjsaiiowppw.invalid> wrote:
>You make a very good point here. It is interesting though that a lot
>of people draw a distinct line between a physical object and a digital
>program or unit of intellectual property.
>
>In principal theft is theft, stealing IP is the same as stealing a
>pair of shoes. Or is it? You can see and hold a pair of shoes because
>they have solid physical form. A digital item only exists in a certain
>medium, a medium that only exists in a "virtual" environment. I guess
>it's a bit like radio waves, they exist but only in a tangible form
>when captured and translated into a discernable format.
The duality here will become more interesting once we develop the
ability to duplicate physical items with relatively little cost. If I
have a prototyping machine (aka a 3D printer) capable of churning out
plastic copies of whatever I fancy - how long until toy manufacturers
start lobbying lawmakers to outlaw such machines?
It will probably also make it clearer why copying is not stealing. It
is apparantly difficult to make people understand that when I make a
copy of a piece of information, that does not affect any other copies
of that piece of information. Hence the claims that "piracy is
theft". It becomes clearer when you can point at my copy of (say) a
Barbie doll and then point at the manufacturer's original and assert
that even though I manufactured a copy, the manufacturer retains his
original.
>Maybe so. One has to wonder though just how the creators of digital
>work and IP are ever going to get appropriate financial reward for
>their efforts.
The regime of copyright is far from the only way for authors to make
money. In fact, its effect is mostly to provide economic security for
the distributor of the product. It is generally distribution and
retail that actually costs money and therefore holds the highest
financial risk.
In the age of electronic distribution, this risk will mostly
disappear. This means that in the future, any given work may only
require 10% of the revenue it used to in order to make its author
happy. I don't expect it is much of a challenge to find a way to
obtain this 10% from the market, and only a very slight bit of
ingenuity will probably be necessary to earn considerably more than
this from one's fan base.
> No reward means no incentive to make the effort in
>first place.
While this statement is true as written, I believe it somewhat
inaccurately represents what you wanted to say. I will assume that you
rather mean "no financial reward means no incentive ...". If so, then
you would clearly be wrong. A lot of people have been producing
cultural products up through the ages without consideration for
financial reward and this trend isn't likely to stop any time soon. In
fact, with phenomena such as YouTube etc. it is only likely to grow
exponentially as the number of cultural interactions explodes - no
longer held back by geographical or cultural distance.
Now, it may become more difficult to produce high-budget items
(although this is not given). If so, then we may be seeing fewer $100+
million Hollywood blockbusters, high-budget games, etc. But I have a
feeling we will find viable financial models also for such productions
if we want them.
Note, however, that one viable way of obtaining funds is through
patronage. Historically, patrons of the arts have been wealthy and
highly political individuals, possibly with their own agendas. This
particular aspect of patronage has too many drawbacks to be considered
very viable. Today, however, with a middle class that is generally
quite wealthy and has ready access to the Internet, it should be
possible to draw money from what I'd call public patronage. That is,
an author might make it public that he intends to produce a new work
X, but he needs financing to make it happen. People who want work X to
be created might then help finance its creation. This could happen as
investments, donations, pre-orders, or whatever. I can see many people
wanting to have a certificate on their wall saying "I helped fund
Stephen King's novel X"
I also expect there will be quite a few people who would prefer to buy
their copy of a given work from the "source" rather than via some
other channel. It can be quite surprising to note how much import the
label "genuine" can have when people make purchasing decisions.
>There are interesting times ahead whichever side of the fence one sits
>on.
Indeed.
Cheers
Bent D
--
Bent Dalager - bcd.RemoveThis@pvv.org -
http://www.pvv.org/~bcd
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