Re: On illegal software in an academic assignment ...


Subject: Re: On illegal software in an academic assignment ...
From: Michael Gogins (gogins@pipeline.com)
Date: Sun Nov 13 2005 - 17:27:48 EST


I quite agree that artists should be compensated in some way.

But how? I mean, seriously? If I can get something from P2P or just rip a tune off a friend's CD, how on earth can the artist be compensated?

This is a real question, I agree with you but I do not see how to proceed.

Do you think the current situation is a blip that will be overcome when everyone from hackers to Chinese gets a conscience with respect to intellectual property? I would hope so, but somehow I don't think so...

I don't think I'd care for the level of surveillance that being able to enforce intellectual property rights on the Internet with would bring...

Best,
Mike

-----Original Message-----
From: Richard Wentk <richard@skydancer.com>
Sent: Nov 13, 2005 5:11 PM
To: cec-conference@concordia.ca
Subject: Re: On illegal software in an academic assignment ...

At 20:37 13/11/2005, you wrote:
>An example of something that I tolerate, and quite possibly approve of,
>would be the sharing of music files for items that record companies have
>deleted - who loses out? Similarly unauthorised copying for creative
>purposes, which always begs the question of where the line is drawn; if
>drawing a line makes it harder for music to stay in circulation or
>stunting creative practice then I'd be for not drawing one at all.

Yes, but this is a worst of both worlds situation for artists because they
get screwed by record companies *and* by their potential audience.

The problem today is that on the one hand there are record companies who
exist primarily to make money, and there are listeners who seem to want to
take work 'just because it's not really stealing if it's from a big record
company that wouldn't be selling the work anyway.'

Is no one standing up for the rights of artists caught in this crossfire?

Valued creative work should be recompensed in some way, whether it's
programming, composition, or telling stories around a campfire. What's
happening instead is that we have a kind of cult of mediocrity from both
sides of the divide, where distributors don't value work because it's only
worth something if it *sells*, and consumers who don't value work because
they can get it for free on P2P - so why should they pay for it?

The result is an attack on the concept of creative value from two fronts,
with a third front opended by a tidal wave of 'creative' software tools
that everyone owns by hardly anyone has any skill with.

Richard



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