назло себе

10:58 | 10-11-2014 | Copyright, Economics | No Comments

а вот интервью Кори Доктороу о копирайтах и продажах, а так же отрывок из его последней книги, Information Doesn’t Want to Be Free:

Put it this way: it makes perfect sense that the lawyers at Universal Studios should have to talk to the lawyers at Warner Bros. when Universal decides to build a Harry Potter ride. But when a twelve-year-old wants to post her Harry Potter fan fiction or the Harry Potter drawings she made in art class on the Internet, it makes no sense for her to negotiate with Warner’s lawyers.

And moreover, there’s nothing wrong or new with making Harry Potter fanfic or drawings. Kids have been doing this forever; every successful artist learns her trade by copying the things she admires. Technically, copyright may have prohibited things like this before, but before the Internet, it was much more difficult for a rightsholder to discover that an offense was taking place, and there was very little pressure on intermediaries to police copyright on the rightsholders’ behalf. No one asked the companies that sold school notebooks to ensure that fanfic was never scribbled in their pages. No one asked art teachers to ensure their students were staying on the right side of copyright in their figure-drawing classes.

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It’s impossible to control who loans a friend lunch money, but that doesn’t mean financial regulation is dead. It just means that financial regulation has to limit itself to the kinds of transactions that take place on an industrial scale, among industrial players.

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Copyright is alive and well — as an industrial regulation. Copyright as a means of regulating cultural activities among private individuals isn’t dead, because it’s never been alive.

и дальше, вот еще один отрывок:

If you’re a publisher, label, or studio, the answer is simple: don’t let companies sell your goods with digital locks on them. And if a company refuses to sell your goods unless they can put their locks on your products? Well, you can be pretty sure that those locks aren’t there for your benefit.

иными словами, все ясно и четко: защищая свои работы DRM-like оберегами и тюремной стеной издательского права, вы ограничиваете их культурное воздействие и свою аудиторию. и совсем не факт, что даже эти оковы помогут вам заработать хоть на цент больше.

  

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