The "private sector" of the economy is the voluntary sector, the "public sector" is the coercive sector. – Henry Hazlitt
The "private sector" of the economy is the voluntary sector, the "public sector" is the coercive sector. – Henry Hazlitt
Intellectual PropertyEverything is a Remix (continued)Posted by Michael Conaghan on 22nd June 2011 1:00pmThe third installement of Everything is a Remix is here! The latest video discusses why creativity isn’t magic and how innovations truly happen.
Everything is a RemixPosted by Michael Conaghan on 31st March 2011 9:53pmWell, just about everything! Following on from my previous post about intellectual property called "Pirates Under Pressure", the below video is a great illustration of how even on its own terms - Hollywood and the big business entertainment industry fail to live up to their own standards. I present:
"George Lucas collected materials, he combined them, he transformed them. Without the films that proceeded it, there could be no Star Wars. Creation requires influence, everything we make is a remix of existing creations, our lives and the lives of others." What kind of world would it be if the above was not possible, because an individual can own ideas? Is this not what copyright and intellectual property supporters must defend? A world without Star Wars and so much more? (Edit: Oh wait, it appears George Lucas has turned to the dark side. I guess the possibility of a state granted monopoly privilege can do that to you).
"Pirates" under pressurePosted by Michael Conaghan on 3rd March 2011 6:47pmA net "pirate" ruling may force ISPs to cut off "cheats": ..."As of [the day before the judgment] the law was that the ISP really had no obligation to take any steps to interfere in the activities of its users if it was acting merely as an ISP and if it had no other relationship with that consumer other than it was a user of those ISP services," said Clayton Utz's John Fairburn. ..."I think that’s what they are looking for; they’re looking for either suspension or termination ultimately for repeat infringers," Mr Gurnett said. The un-questioned premise here is whether copying is actually theft? Is there anything wrong with an individual copying something? What is stolen? Who is the victim? I don't think it is necessary to go into the rationale here, but feel free to browse and watch these videos that make the legitimate case against Intellectual Property "Rights". Or search our site here.
Vice Chancellor of the University of Buckingham (Britain's only independent university), Terence Kealey is a vocal critic of government funding of science.
Against Intellectual Monopoly dares step out front, on a topic very dear to our hearts, to prove that "the great role of patents in giving us modern software is unadulterated fantasy." And they show this by reviewing the history of software innovation and its present workings. Neither Google nor YouTube nor any other driving force is using patents to retain competitive advantage, and those who do collect patents mostly do it in order to avoid patent trolls, e.g. those who would patent a technology already in use in order to possess and restrict its use.
Leonard E. Read, the founder of the Foundation for Economic Education in 1946, is often heralded for his role in kick-starting the libertarian movement after World War II. The sons of FEE went on to do great good for the world, and FEE is often called the father of all libertarian think tanks – institutions that work outside official academia to advance radical ideas. He did more than merely sponsor lectures and publish. As a matter of fact, others were doing the same. So far as I know, no one has yet noticed that he used a secret weapon in his struggle, something that made him truly different and unusually effective. He eschewed the use of exclusive copyright.
Fed up with the patent craze, The Economist Magazine wrote the following in a main editorial: "The granting of patents 'inflames cupidity', excites fraud, stimulates men to run after schemes that may enable them to levy a tax on the public, begets disputes and quarrels betwixt inventors, provokes endless lawsuits … The principle of the law from which such consequences flow cannot be just." It's not in current issue. That was published in 1851, but every word of it remains true today. It was once conventional wisdom among economists that state-granted monopolies were as bad as mercantilism. But in the meantime, sometime after the middle of the 20th century, the conventional wisdom became confused.
How strange this "intellectual property" issue is. In normal life, we tend to (or should) credit enterprise and markets for most innovations that surround us. I'm typing on a system here that includes products for several dozens different creative companies, with hardware and software and applications of all sorts stitched together through some miracle we call the coordinative power of the market. No news in that, I suppose. Ho hum. But let the subject of IP come up, and most people will say that we only have this stuff thanks to IP. Think of the shift here. On the one hand, we credit markets. On the other hand, we credit monopoly. Both can't be true. Or if both are true, we have a serious theoretical tangle to unravel. So which is true?
As I think more about "intellectual property" in the form of patents and copyrights, it seems that the implications for social theory are profound. The behavior targeted and slaughtered by IP is one that provides a fuel for all social and economic development: imitation or emulation. (Before I go on, I want to emphatically point to my personal debt to Michele Boldrin and David Levine's Against Intellectual Monopoly, from which everything in this article is derived.) In the German-speaking world of art in the 18th and 19th century, imitation by composers was considered to be the greatest tribute. When Bach would write an elaboration of Buxtehude, it was seen as a wonderful gift to Buxtehude's legacy and memory. When Mahler would turn a phrase by Brahms, or re-orchestrate a Beethoven symphony, it was the tribute of one master to another. So it is in literature and economics.
When an author signs a publication contract, insofar as it contains strict and traditional copyright notices, he is pretty much signing his life away. It used to be that the publisher would maintain control only so long as the book is in print. Today, with digital printing, this means forever: your lifetime plus 70 years. During this time, you can't even quote significant portions of your own writing without permission from the publisher, and you could find yourself paying the publisher for the rights. You can't read your own book aloud and sell the results. You certainly can't give a journal a chapter. You could try to be sneaky and change the text a bit, right? Wrong. They've thought of that. You will own and control new matter but the old matter is still the private possession of The Man. |
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