Comm%20notes - rights” of creators = creates...

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Comm Notes 3/5/09 Access vs. Control in Cultural Production: RO Culture and RW Culture CONTROL OF DIGITAL SPACES -how can we better understand issues of power in digital environments? How are power and control exerted online? THE COPYRIGHT WARS AND PIRACY -Lessig talks about the war against piracy. First started when peer to peer file sharing was criminalized, since then we’ve had about 10 years of “war”. -Information is inherently a public good but… -Who pays for the production of information and culture? -Road anaology- Commons needed because they benefit the public good and don’t prevent anyone from using it. The information is a public good, but WE must find a way to pay for it. Who is going to support the information? -Copyrights as a balancing system that -Supports production of culture by recognizing intellectual “property
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Unformatted text preview: rights” of creators = + creates Markets-Acknowledges rights of the public by preserving: Public domain and “Fair Use”-Over time, copyright duration has expanded. See: CURRENT ISSUES OF THE COPYRIGHT SYSTEM-regulators control digital technologies by regulating “code” (ex. Copyright Term Extension Act), expanding rights of owners of information-Industry employs Digital Rights Management (DRM) technologies-Criminalization of Amateur Culture! AMATEUR CULTURE AS “PUBLIC CULTURE”-Why is it important? -Culture in the public domain can be shared-It drives creativity, innovation and acts as an input for economic production of cultural production-It enables cultural and political expression-It supports the rights of users as producers of media messages...
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This note was uploaded on 04/15/2009 for the course COMM 397M taught by Professor Fuentes during the Spring '08 term at UMass (Amherst).

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Comm%20notes - rights” of creators = creates...

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