By Dmytri Kleiner
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Extra resources for The Telekommunist Manifesto Network Notebooks 03
Example text
Failure to understand the difference between capital demand and consumer demand propagates the myth that the success of free software can be a template for free culture. Under capitalism, only capital can be free. That’s why software can be free, but culture cannot be free without more fundamental shifts in society. Art is not, in most cases, a common input to production as software is. Thus, the demand for it is consumer demand, not capital demand. There are certainly cases in which artworks could be considered productive inputs, such as sound effects, clip art, music clips, and the like, and the tradition of artists drawing on the work of their predecessors has been discussed at length above; however, when we discuss the economics of content-based works, like poems, novels, films, or music, as well as entertainment-oriented software titles such as games, we are not talking about producer’s goods, but consumer’s goods.
Lessig contrasts producer-control to the cultural commons (a common stock of value that all can use and contribute to). The commons denies producer-control and insists on the freedom of consumers. The ‘free’ in free culture refers to the natural freedom of consum33 ers to use common cultural stock, and not the state-enforced freedom of producers to control the use of ‘their’ work. In principle, the notion of a cultural commons abolishes the distinction between producers and consumers, viewing them as equal actors in an ongoing process.
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