Blog - Unity Behind Diversity

Searching for beauty in the dissonance

Tagged: masnick

Is There A Better Word Than “Balance” In The Copyright Debate?

Mike Masnick questions the word “balance” in the copyright debate:

I’ve long thought that balance is the wrong way to look at it. The purpose of copyright law is to incentivize the creation of new content, and thus the standard on which copyright law should be judged is one where the [benefits of the] creation of content is maximized. As such, there shouldn’t be a question of balance, because the ideal situation where content is maximized should make everyone better off. Talking about balance is figuring out how both sides should compromise to meet in the middle. Talking about maximizing content creation, on the other hand, is talking about ways to improve the marketplace of options for everyone.

He links to a paper by Abraham Drassinower of the U of T Law School arguing that balance is the wrong way to view copyright policy. “Balance” as a concept in copyright suggests that the law is designed to reward a content creator for their labour (the “sweat of the brow” argument), Drassinower argues, though Masnick has to tease out the main point: “Balance” falsely implies that this is a zero sum game, when “the goal of copyright should be maximizing the [benefits of the] creation of content overall, such that everyone is better off.

I’m sold. I tried to use this point at the Toronto Copyright Townhall and in my submission to the consultation.

But, if not balance, then what?

Words like “balance” are used often to make sure that the interests of the public aren’t forgotten in the face of copyright holders’ interests. I strongly support the group, Fair Copyright for Canada, but “fair” has similar problems to “balance.” What words might serve to include the public interest without suggesting a zero sum game? Mike described it as “maximizing [the benefits of] content creation,” but that seems more useful in explanation than at the sound bite stage.

What about “calibrate?” I notice that Mike used the word in a subsequent post on why morality isn’t relevant in copyright: “A properly calibrated system is one where there’s the greatest overall economic good and everyone has the greatest opportunity to benefit” (strongly related — if it’s an economic question rather than a moral one, rights holders interests are not necessarily opposed to the public interest). “Calibrate” seems like the most accurate word. It doesn’t directly conjure up the notion of the public interest, but it does so indirectly by suggesting an approach that’s about more than “protection.” But it’s too technical for a mainstream audience.

Is there a more accessible synonym for “calibrate?” Optimize? It works, but “optimizing copyright law” seems a bit too vague, and doesn’t really capture the non-zero sum game and the public interest. doesn’t help much either.

So what else? I’m not sure. I like “calibrate,” but it won’t work with all audiences. “Optimize” is nice to use in passing to reinforce the point, but it doesn’t introduce it. “Balance” and “fair” are still useful for drawing attention to the interests beyond that of rights holders, but I won’t offer those terms without a caveat or disclaimer.

Other suggestions?

Creative Commons Attribution-ShareAlike 4.0 International Permalink | Comments (2)

Information Serendipity In Different Mediums

I’ve been meaning to comment on Mathew Ingram’s defence of newspapers and serendipity. Clay Shirky has been talking about the bundling that occurs in newspapers as a mere accident of print, something that was only necessary given the constraints of paper, but doesn’t make sense otherwise. Mathew disagrees:

Is there a purpose in aggregating the horoscope and the weather and the news about the coup in Tegucigalpa? I think there is, and I think newspapers do a pretty good job of it.

It’s not just because they have to — although that’s part of it. Maybe I’ve just been trained as a newspaper reader for my whole life, but I like the serendipity of tripping over fascinating articles about things I would never have known even existed were it not for a newspaper. To take the Saturday Globe and Mail as an example, I read about an up-and-coming Muslim hockey player, a profile of Paul Shaffer, a review of the punk band Gossip, an article about contentious city council politics in Aurora and a great feature on retirees and their vanishing pensions.

Just two days before Mathew’s post, my friend Emilie and I were having the same conversation. She reads the newspaper daily and made the same defence. I used to read the paper regularly when I was commuting to school in Grade 9, but more recently, I’ve come to get my “news” through Gwibber and Google Reader. It’s not that Mathew or Emilie don’t use the web, but they both have found something valuable in newspapers that the web hasn’t been able to offer — information serendipity (by that, I mean serendipity with respect to encountering ideas). Mathew continues,

Could links to those stories show up in my RSS reader? Possibly – but I doubt it. The mix is just too eclectic. And I would never have sought out the article about the Muslim hockey player, because I don’t particularly care about hockey and therefore I would likely never have come across it. Would the retirement piece ever make it to Techmeme or some similar aggregator? I doubt it. But it was still worth reading. And so were the half-dozen or so articles I can’t recall right now, which I tripped across as I read the paper. I would never have deliberately sought them out either.

I think Mathew’s missing one of the most serendipitous aspects of the web — the social aspect. I wouldn’t likely stumble upon those sorts of articles through my RSS subscriptions (though I’m subscribed to some pretty eclectic stuff), but through Google Reader shared items (e.g. Turadg Aleahmad shares some really interesting things, like this Wikipedia article on Mamihlapinatapai). I stumbled across Valaam chant through a friend’s Facebook posted items the other day, a genre of music that’s entirely new to me and will likely influence my own music. I find interesting links through Twitter/ every week that are outside my regular areas of interest (e.g. this video riding blog from Sunday). I may follow someone who shares some interests in common with me, but that doesn’t mean their other interests are my usual fare. Information serendipity here is social.

Then, beyond the social, Mike Masnick was writing about serendipity of search a few weeks before Mathew’s post:

There’s a separate side of having search so ingrained in our lives that isn’t often explored: the serendipity of search… I do a countless number of searches during the day — it’s ingrained to quickly and automatically jump to the search box all through the day — and usually two or three times per day, I end up going down a fascinating, if unexpected path to learning something new and interesting. Usually, it’s related to what I was originally searching for, but leads me on a trail of additional information, well beyond what I expected to learn. Other times, it may be a total tangent, but still one that ends up being useful and relevant in odd and unexpected ways.

A couple days after Mike’s post, I was watching Margaret Visser’s The Geometry of Love with the RCIA group at the Newman Centre. She makes a passing comment in the video about the serendipity of browsing through the stacks at Robarts Library — yet another type of information serendipity.

Beyond information serendipity, there’s a likelihood of social serendipity (in encountering people rather than ideas) that exists in a communications medium like the web that you wouldn’t find in a newspaper. On any medium, it’s not so much a question of whether there’s an element of serendipity as it’s a question of what that serendipity is like.

Information serendipity on the web is different than in newspapers. There’s information serendipity in bundling, in proximity, in linking, in social connections, and then there are other types of serendipity altogether, like social serendipity. I think it’d be really interesting to dig deeper and explore the differences…

Information Serendipity in Wikipedia

Creative Commons Attribution-ShareAlike 4.0 International Permalink | Post a Comment

Free Music Doesn’t Mean Devalued Music

Update: A more condensed version of this post was published on Techdirt.

Mike Masnick does a great job of explaining why some libertarian and “free market” types freak out when they see a zero dollar price tag. The concept of zero took ages for societies to even recognize, nevermind understand. It’s not a number, but the absence of a number. A stumbling block for mathematics and physics in the past, it’s now misunderstood in some economic circles. Economics is often defined by scarcity, but with digital goods and “intellectual property,” we have an infinite supply — abundance instead of scarcity. Prices gets pushed towards marginal cost in a competitive market, and these “infinite” goods have a marginal cost of zero… so that’s where the price gets pushed. This upsets some people, as if it were a “divide by zero” type error that breaks the equation.

But a lack of scarcity isn’t a problem. Instead of thinking of it as forcing a price of zero, you “flip the equation” and think of it as being a cost of zero. If something can be reproduced for free, the trick is to use as much of it as possible — give it away, leverage the abundance to add value to other complementary scarce goods. Zero doesn’t break economics, it just requires a different approach. (This is all just a condensed version of Mike’s post.)

Songwriters, however, hit a different stumbling block than libertarians (songwriting libertarians aside…). Zero is a problem because they feel like their music is worthless; they aren’t hung up on scarcity, they’re hung up on “devaluation.” A lot of artistic types hear the economic theory and feel as though their work is just viewed as some sort of cheap commodity.

The thing is, value and price are not the same. Price is monetary value, but value is so much more than money. Price is what gets driven down to marginal cost, but value factors into the demand side of the equation. An expensive thing isn’t necessarily a valuable thing, and something that’s available for free isn’t necessarily without value. I value oxygen a lot, but it seems silly to pay for the air I breathe each minute, given the abundant supply.

More importantly though, songwriters who get hung up on “devaluation” confuse recordings with music. They equate the two. A recording is not the song, it’s just an instance of it, and a digital audio file is just an instance of the recording. Equating these reduces music to recordings, to files. As important as recordings are, there’s so much more to music. When you think of a song, do you think of the recording, or a memory you had connecting with the music? Do you think of the file and how much it cost, or the emotions, people and experiences that the music conjures up?

When I listen to Reflection, I am in Rosedale Valley, running a cross country practice in Grade 11 with a friend, as the meaning of the final verse hit me in all its pain and glory. When I listen to Dispatch live albums, I’m at the Hatch Shell in Boston, or Madison Square Gardens, at one of the reunion concerts. When I listen to the Good Lovelies, I’m in Ottawa at the OCFF conference in a packed hotel room full of folk musicians listening to a raw, passionate acoustic performance. You don’t connect with the files, you connect with the music. The recordings are just a means through which we experience the music.

I would hope that songwriters, of all people, could realize that the value in music is so much more than the price of a recording. It’s not devaluing music to give away your music for free, but rather increasing its value by allowing more people to connect with it, to know, love and understand it — to value it. It’s through that experience that music is valued, not price!

Furthermore, a price of zero for digital music doesn’t mean that no one values the profession, or that no one is willing to spend money on music and keep songwriters in business. When you give music away and connect with fans, the business opportunity is to monetize the associated scarcitiesaccess, containers, community, merchandise, relationships, unique goods, the creation of new music, etc. — by giving fans a reason to buy.

Music still has value, and there are still plenty of ways to monetize it. Getting hung up about “devaluation” is a distraction from the opportunity and the need to experiment with these new business models. Recognizing that digital recordings are an infinite good and giving them away for free only makes the music more valuable, and only leads to more opportunities for monetization.

So, can we please stop complaining that freeing up music devalues it?

Creative Commons Attribution-ShareAlike 4.0 International Permalink | Comments (3)

The Formula For Future Music Business Models: The Trent Reznor Case Study

On January 17th, 2009, the heroic Mike Masnick (of Techdirt fame) descended into a lion’s den wielding a sword of flame to guide a lost people to salvation. Ok, well, it didn’t happen quite like that, but it was pretty close. Just think music business conference instead of lion’s den, 280 Powerpoint slides instead of a flaming sword, financial success instead of salvation and the record industry instead of… no, I guess that part is accurate. Masnick gave a presentation on Trent Reznor and the Formula for Future Music Business Models at MidemNet in Cannes, Frances and, at only 15 minutes long, it’s definitely a must watch for anyone remotely interested in a future in the music business.

It’s a case study on Reznor, whose provided countless examples of these business models in practice, but Mike abstracts the common pattern in them all:

Connection with Fans (CwF) + Reason to Buy (RtB) = The Business Model $$$

(And no, it’s not about royalties, micropayments or forcing people to buy stuff!)

Creative Commons Attribution-ShareAlike 4.0 International Permalink | Post a Comment

Smearing Lawrence Lessig and Free Culture

What good thing could come of an intellectually dishonest smear campaign against Lawrence Lessig? Mike Masnick absolutely ripping it to shreds.

As a general comment, these defenders of “intellectual property” don’t seem to understand that granting artificial monopolies involves more government intervention, not less. Free culture is not communism. Also, these guys consistently fail to recognize the differences between tangible and intellectual property.

Read more about this from Lessig’s blog as well.

Creative Commons Attribution-ShareAlike 4.0 International Permalink | Post a Comment