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Learning To Profit From Piracy
I Don't Believe in Imaginary Property writes "Wired has an interview with Matt Mason, author of The Pirate's Dilemma: How Youth Culture Is Reinventing Capitalism, which discusses how businesses could make money off of piracy, rather than attacking people in a futile attempt to suppress it. And some of his ideas are gaining traction; work is underway on a TV show called Pirate TV, which he describes as 'two parts Anthony Bourdain, one part Mythbusters.' (Heroes executive producer Jesse Alexander is on board.) Also, Mason is pretty good about practicing what he preaches in that you can pirate his book on his own website."
I've produced a few bands' records, and asked them to repudiate copyright on their tracks. 2 of them have, and they've skyrocketed the amount of fans that come to shows (in the thousands, on their last tour), and the amount of personalized merchandise they sell. Anything easily duplicated is called "advertising" or "marketing." You don't charge others to receive a show flyer (which could take a few hours to design, plus hours to print and many hours to distribute), so why charge for music?
I repudiated copyright on all my writings over a decade ago. My blogs let others take the content I created, and republish it as their own if they want. The two e-books I've written also are freely distributed, with a request for $20 in the final chapter if the books help them.
My business newsletter used to cost over $1000 per year, but now it is free, and I tell others to photocopy it or email the PDF out to others. It generates traffic for my websites, and it also builds reputation to my expanding customer base.
I see no reason for copyright any longer. For items that are costlier to create (TV shows, movies), product placement is a fine way to profit from the distribution of the product. Subscriptions also can work, just like a chapter-by-chapter written blook that continues as people fund the author's writing.
Those who hold onto the statist idea of intellectual property will be left behind. They'll find their market swamped by amateurs with the same amount of talent, and with more drive to distribute their creations as artists always have.
I like this idea, and I recommend others consider going that route when they create content that is easily duplicated. To support it, there are always ways to create value added items (t-shirts, in-person signings or shows, etc).
If you read the article, he's using the word "piracy" in place of the more correct term "network effect". Redistribution is a secondary effect of P2P protocols, if it were a straight download the infringer would be the distributor while the "pirate" is the individual who first ripped and uploaded the "loot".
These things were expressed clearly over 5 years ago, the reason "pirates" don't like him is because he comes over like some PR shill employing reverse psychology. It's either deliberate or he doesn't "get it", which would extend to reading and understanding relevant work in the field.
You seem to be confusing "produce art" with "make a living". That's a common fallacy. Artists have never been guaranteed a living solely on the basis of the art they produced. Many famous painters, composers, etc. have died as paupers even when they were famous in their own time.
For what it's worth, in a capitalist system nobody else is guaranteed a living for what they do either. You might be the world's best Parcheesi player but I doubt you could make a living doing just that.
Insisting on "correct" English is like saying that there is only one, definitive recipe for chili.
Black markets emerge for commodity goods when there are significant discrepancies between marginal costs and market price. This is exactly the case for digital entertainment media, where technology has eliminated the ability of major media producers to (technically) control the means of distribution of their product, and the marginal cost of distribution is orders of magnitude less than the price to legally buy the good. The development of the black market / piracy is expected in this case.
But - there is a middle ground. There is not just "selling media" vs. "pirating media"...
We have built LegalTorrents to get around the "dilemma" we have a working business model that both incorporates emerging technology and ALSO provides financial supports to Content Creators. The answer is simple: give away what you can't control, and provide value when customers choose to pay.
All the media we host can be downloaded without paying for it, but Content Creators can ask for Sponsorship - voluntary payments. Why would a user pay for media they can get with out paying for it? The answer is give them more: Give them more. Give public credit and community props for those users who pay for the media they love. Give them access to the Content Creators. Give them extra material not easily found online. Give them early access to concerts, private events, etc. Enable the Content Creator to build up a community around their work that is available for those users who pay to support it.
Subscriptions also can work, just like a chapter-by-chapter written blook that continues as people fund the author's writing.
I recall Stephen King trying this and giving up.
King's 'experiment' should be a lesson in how NOT to sell subscriptions.
He wanted people to pay for each chapter AFTER it was released, not before.
That was so stupid that it makes me wonder if his intent (or whomever proposed it to him) was to deliberately fail.
A good subscription based system will give away a few chapters/episodes/songs and then start requiring a minimum amount of money in the bank before the next chapter/episode/song is released because such systems are all forms of the 'ransom' business model - no kidnapper would be stupid enough to return the kid and then demand a ransom, but that's the equivalent of how King ran his experiment.
The 'ransom' model actually has a lot of benefits all around - it reduces the risk of losing money to nearly zero since the money is in the bank before production work even has to get started. For consumers, it takes the middle-man, the guy who treats all content as just another product to be packaged up and resold, out of the middle. It allows people to much more accurately vote with their dollar for what productions they want to see get made.