Divisive Cotton
Now I just have my toy soldiers
One of the editors at the Register, Andrew Orlowski, has wrote an item for Spiked on filesharing.
Those that read the Register will know their attitude to free file sharing - they call those that argue in favour "freetards".
Anyway, away from the schoolboy humour of the Register, the Spiked article makes a number of points:
The Orloksi article agues that historically the left (wrapped up in liberal and progressive Americanisms, which is annoying) have supported the rights of the creator:
Isn't he confusing here the political and cultural relationship between the artist and the people, rather than any economic one?
I have no idea what historically the attitude to copyright was from the left, and to tell you the truth, I don't think Orloksi does either, but it makes a pretty paragraph.
And isn't this a debate that is primarily based in the relative affluence of the post-war years, rather than in the time of Shelly or William Morris?
Perhaps the author is trying to change the center of debate away from consumer <= => multinational company, to consumer <= => artist, but at the same time the intermediary is the capitalist company... they stand inbetween the consumer and artist (or used to) taking their share of money earned...
http://www.spiked-online.com/index.php?/site/article/5446/
Those that read the Register will know their attitude to free file sharing - they call those that argue in favour "freetards".
Anyway, away from the schoolboy humour of the Register, the Spiked article makes a number of points:
The Orloksi article agues that historically the left (wrapped up in liberal and progressive Americanisms, which is annoying) have supported the rights of the creator:
for 150 years liberals and progressives have embraced the artistic creator as both an ally and a pathfinder. From William Morris’ Arts and Crafts movement, to the many schemes devised by postwar social democratic governments, the creator was an aesthetic rebel, a political ally and a visionary, an ethos that owed much to Shelley’s view of the poet as the ‘unacknowledged legislator’. What many of these initiatives had in common was a creator’s economic independence, typically supported through the mechanism of copyright.
Isn't he confusing here the political and cultural relationship between the artist and the people, rather than any economic one?
I have no idea what historically the attitude to copyright was from the left, and to tell you the truth, I don't think Orloksi does either, but it makes a pretty paragraph.
And isn't this a debate that is primarily based in the relative affluence of the post-war years, rather than in the time of Shelly or William Morris?
How were so many well-intentioned liberals and progressives able to abandon a long tradition of advocacy for the rights and representation of labour? When the digital revolution arrived, the activist gave up real challenges to power, and found a convenient proxy in the shape of the music business. Marx’s advocacy of ‘expropriating the expropriator’ was adopted, only to be inverted, leaving the creator’s cause as collateral damage.
Perhaps the author is trying to change the center of debate away from consumer <= => multinational company, to consumer <= => artist, but at the same time the intermediary is the capitalist company... they stand inbetween the consumer and artist (or used to) taking their share of money earned...
http://www.spiked-online.com/index.php?/site/article/5446/