There is a larger issue in question- how does copyright law adapt to the
realities of an all-digital, connected world? That raises a deeper question
that the world must deal with over the coming decades. What is the inherent
value of intellectual property?

I am sitting here watching Harry Potter and the Prisoner of Azkaban, a very
entertaining movie based on a very entertaining book. In exchange for her
years of work on the Harry Potter series, JK Rowling is a billionaire and
the second richest woman in England next to the Queen. Now, I like Harry
Potter, but it isn't Shakespeare. And yet Shakespeare, maybe the greatest
writer in the history of the english language, needed patronage from the
nobility for his limited commercial success.

What about musicians? Recordings made it possible for MC Hammer to earn $300
million, but Mozart barely earned a living and died penniless. And Mozart
was a composer and conductor, not just a musician.

And actors. Let's not forget about actors. Tom Cruise makes $25 million per
movie, but Shakespeare and his contemporaries in English theater made a
modest living from acting alone. They were each paid ten pounds per
performance at the Royal Court- a handsome sum at the time, but hardly the
kind of money that would make a man wealthy.

Ironically, it is our own industry that has gained the most from copyright
and has fallen the quickest. Software. Ah, software. How does a geeky
dropout from Harvard become the world's richest man? Licensing! All thanks
to copyright law. And yet in the space of barely two decades, as an industry
we are in the process of re-thinking the value of our own intellectual
property.

To some people, the Open Source movement is a noble battle against the
forces of corporate tyranny. To me, the Open Source movement is simply the
reaction of an industry where many people have come to grips with the
reality of the digital age- that the ease of distribution of the Internet
has radically altered the value equation for intellectual property of all
sorts. We are ahead of the curve, but it makes sense that we are ahead
because we are so close to the technology.

Did you see the new Napster deal? Get your Napster player and download all
the music you want for $15/month. It represents an entirely new business
model for the music industry, one where value is determined by time of
possession rather than licensing of discrete content. It is the first real
sign that the music industry has finally come to grips with the simple fact
that their business model no longer offers the perceived value it once did.

Where do we go from here? I have no idea, but the whole subject fascinates
me.

I am going to re-post this on my blog and expand on the subject. Thanks for
bringing up the subject, Mike!

BTW, I suspect your writer friends are laughing in part because they realize
the futility of trying to do anything about it.


Rob

----- Original Message ----- 
From: "Michael Dinowitz" <[EMAIL PROTECTED]>
To: "CF-Community" <[email protected]>
Sent: Sunday, February 06, 2005 9:50 PM
Subject: who cares


> I sent an email reciently to a list of writers I'm on about the massive
copywrite infringment going on with scanned comics. I have a full T of
comics already and there's still more coming down. Comics come out Wensday
and I have 60%-80% of them by Wensday night. (I'm doing this as a favor to a
friend who wants to track all this as its happening).
> The response from some of the writers? Who cares. Comics make no money,
comics are just vehicles for 'real' things like movies, TV shows and
merchandicing. Who cares if you can download every superman comic that was
ever printed. You can't even say for sure that the comic industry is losing
money because of this.
> These arguments drive me crazy. Here are professional writers and editors
just scoffing at massive scanning operations as if it means nothing. It
would normally make me want to scream, but I've got a list of things to do
and screaming isn't on it. :(
> Yes, this was just a rant.
>


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