Posts by Sacha
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The motivation for endless Mickey Mouse extensions seems more about greed than any artistic motivations.
As I said above, restricting duration is how the copyright bargain has traditionally been constructed. In an era of fast copying and long tail, it makes way less sense.
I'm sympathetic with the position that creators not only deserve to eat but to eat well. I've proposed a substantial IP bank (which is really a specialist economic development agency) as a mechanism for boosting and sharing return over time, and encouraging confidence in creators to share their work and foster a thriving local creative economy.
What are your ideas, everyone, about methods other than duration?
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I'm so indie it hurts sometimes :)
I believe that to be an accurate summary..
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there is a physicality to the IP that is in my zone of interest which is being ignored
Do tell..
the more obscure the sample the better is the rule usually
Only because someone is fixin to sue you, surely?
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Oops, wrong Van Hout. Ta for the detail.
I guess we've just demonstrated that some of the value to me in that work was not something that you as the owner intended or anticipated, and you've said that more than one creator was involved (including the business creativity).
"Referencing" is one way of acknowledging that broader historical/cultural context, although I'm sure you're dead right about the practical and commercial imperatives driving some people.
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Not everything has to be about the creator. After a while, the creator shouldn't matter. Mickey Mouse films are part of our culture now.
I agree, Robin, and I'd like to turn this conversation around.
Culture is not made by those who create cultural products. Establishing meaning and value is a joint effort of all those who receive as well as those who produce. The meaning is not inherent in the artefacts and context is everything (and the fine art market would be the perfect example). Postmodern, I know - but even more relevant when current technologies like this blog easily make any of us creators as well as consumers.
That joint aspect may be what is distinctive about cultural products compared with baked beans, and I suspect it's why the bargain of copyright has not been completely centred on what creators might wish. Nothing is made or experienced in a vacuum, but a lot of this discussion has focused on only one end of that relationship.
A "right" to restrict copies does not "naturally" exist, so it must be granted. Limiting the duration of enforcement was a traditional way of managing the division of benefits. That worked when technology and other barriers only evolved slowly. As Rick and others have said, even our current technologies make monkeys of old-fashioned approaches.
The social contract gets muddied further by commercialisation when most of those who own and enforce rights are aggregators or distributors rather than creators, and so have a different moral relationship with the works.
Rob, I mentioned that beautiful South poster of yours a while back. Well, some of its communicative power was about knowing Ansel Adams' landscape photos or Ronnie's other work. He didn't "own" those cultural references and neither did you. But you profited from them, as they added value to your marketing material and the album cover featuring that photo. Helped me decide to buy it, for one, and I also regard it as a taonga for all New Zealanders.
I do believe that the current system is broken. It seems intuitively wrong to me that an author gets less than the bookseller who provides a distribution channel for their work, or that a record label can structure contracts so a musician never sees a dime (Albini). We really haven't found a sustainable way to honour the deeply felt custodial relationship of creators with their works, or make sure that a fair share of any increased social value goes to them rather than others.
Different cultures have their own ways of managing this. That includes non-commercial avenues like the state pension examples mentioned upthread, or social rank systems in places where mana can bring a comfortable life. The Wai262 claim also comes to mind with collective aspects of cultural ownership and kaitiakitanga..
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Heh. I love "stet". :)
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One prosaic reason why lots of people like Russell forget stuff is because they have lots they have to remember - they often forget about same percentage of material as everyone else but that turns out to be rather a lot in absolute terms.
That rings true, and for me it varies from time to time. When I'm writing a report or researching one of the many new areas I'm constantly forced to get to grips with, my mind gets too chock full of info and people's names are one of the things that go to make space. Luckily they come back again, but it's dern frustrating at the time.
I easily remember numbers from years ago, but even they get squeezed out. I've lately been thinking that I've always been somewhere on the spectrum. Is it possible to become more autistic or differently emphasised as you get older?
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most research shows that women are better at recognising women's faces than men but no better at recognising men's faces
How does that work? - please say more, Stephen.
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No tatoo stories, but observing that Sofie's phrase "a good reminder of a drunket with 2 beautiful friends" shows the new word works really well. Bravo!
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Though the former has been a more significant source of income for paparazzi. :)
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