The Unrepentant Bootlegger profiles Hana Beshara, a founder of NinjaVideo, who spent 16 months in prison for defying censorship. Cut to the logic of censorship (emphasis added):
People watch more paid, legal content than ever, but they also continue to download huge amounts of illegal content. “Piracy is putting pressure on antiquated business models, which isn’t necessarily a bad thing,” said Brett Danaher, an economics professor at Wellesley College who studies Internet piracy. “But the prevalence of piracy shows that people are growing up in a culture of free, and that is not good for the future of entertainment, either.”
That we should be concerned for the future of entertainment, at all, is itself bizarre. Freedom and equality should absolutely trump incentivizing a surfeit of entertainment. If we must choose between spectacle and communications, spectacle should be destroyed. We do not need to choose. We can destroy the censorship regime, but entertainment, including for better or worse some of the spectacle variety, will continue to exist and be produced in vastly greater quantities and quality than it is feasible for anyone to even begin to fully appreciate in a lifetime. If the spectacle portion does not include projects with budgets of hundreds of millions of dollars, that is OK — we will love what culture does get produced, as that love and cultural relevance is largely based on being immersed in the culture that exists — we love the culture we’re in. If that culture is less dominated by U.S.-based high investment productions, so much the better for the U.S. and the world.
Another policy significant quote from the article:
Peter Eckersley, technology projects director at the Electronic Frontier Foundation […] said the law should shift its focus to making sure that copyright holders are paid for their work, rather than trying to stymie how people gain access to it. […] He suggested a legal framework to retire the “exclusive rights” aspect of copyright law that requires permission to publish — and that allows copyright holders to seek exorbitant damages from infringers — and move toward a system that requires sites and people who make money from another’s work to share any profits. Solutions like these, Mr. Eckersley says, would create different priorities that go beyond chasing small-time pirates like Ms. Beshara and her colleagues.
No, copyright holders should not be paid. Any payment by virtue of holding copyright only makes the censorship regime self-perpetuating. Funding of entertainment should be completely decoupled from the censorship regime of copyright. I understand the appeal of paid speech over permissioned speech (of course a tax is usually better than a prohibition, and that applies to privatized regimes as well), but neither is free speech. The paid speech approach would indeed create priorities that go beyond chasing small-time pirates (note Beshara earned $210k over 3 years; note also existing paid speech regimes which involve monitoring and shakedown of small-time restaurants) — it would invite further pervasive and destructive surveillance of communications in the interest of ensuring copyright holders get paid. It is appalling that EFF is still willing to invite sacrifice of everything they fight for at the alter of paying copyright holders. I don’t blame the EFF specifically; this just shows how deeply intellectual parasitism has burrowed in general. Intellectual parasites (which includes most reformers, including me often) need to fully shift to being commons policy advocates (and scholars).
Regarding people and projects like Hana Beshara and NinjaVideo, I’m ambivalent. Performing unpaid marketing and price discrimination services for the censorship industry is distasteful and harmful. But sharing culture (putting the regime aside) is tasteful and helpful. There is too little known about informal circulations and their effects, this lack of knowledge itself a collateral damage of the regime (compare being able to study cultural flows and surveillance required for paid speech; they are of different orders) and far, far, far too little direct competition for the regime.
We will NEVER see a day in which finding ways to be entertained is among our problems.
Enough videos are uploaded to YouTube that a single day’s uploads include enough reasonably quality and entertaining ones to last a lifetime of entertainment. But none of that need even exist. There are no boring situations, only boring people.
All the copyright thinking comes from the same nonsense as the obsession with work. We have no *need* for more music to ever be recorded in order to have effectively limitless music to entertain us. But we’re stuck on the idea that someone should have some productive thing to show or hard work having been done in order for them to deserve their share of food. Whether the work actually added value to the world is irrelevant. We want people to work for their pay, even if the work is useless or even destructive.
[…] A similar avalanche of publishing can be found in any academic discipline. It is conceivable that copyright helps, providing an incentive for services like UpToDate. My guess is that it gets in the way, both by propping up arrangements oriented toward pumping out individual articles, and by putting up barriers (the public license incompatibility mentioned above is inconsequential compared to the paywalled, umitigated copyright, and/or PDF-only case which dominates) to collaborative — human and machine — distillation of the states of the art. As I wrote about entertainment, do not pay copyright holders, for a good future. […]
[…] actions it implies. Accordingly, I ratcheted down critical cheering in 2014; hopefully most but not all of what remained was relatively fun or novel. Instead I focused more sharply on the theory, […]