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e unclear. It never pays to do anything except pay for the right to create,<br />

and hence only those who can pay are allowed to create. As was the<br />

case in the Soviet Union, though for very different reasons, we will begin<br />

to see a world of underground art—not because the message is necessarily<br />

political, or because the subject is controversial, but because the<br />

very act of creating the art is legally fraught. Already, exhibits of “illegal<br />

art” tour the United States. 3 In what does their “illegality” consist?<br />

In the act of mixing the culture around us with an expression that is<br />

critical or reflective.<br />

Part of the reason for this fear of illegality has to do with the changing<br />

law. I described that change in detail in chapter 10. But an even<br />

bigger part has to do with the increasing ease with which infractions<br />

can be tracked. As users of file-sharing systems discovered in 2002, it<br />

is a trivial matter for copyright owners to get courts to order Internet<br />

service providers to reveal who has what content. It is as if your cassette<br />

tape player transmitted a list of the songs that you played in the privacy<br />

of your own home that anyone could tune into for whatever reason<br />

they chose.<br />

Never in our history has a painter had to worry about whether<br />

his painting infringed on someone else’s work; but the modern-day<br />

painter, using the tools of Photoshop, sharing content on the Web,<br />

must worry all the time. Images are all around, but the only safe images<br />

to use in the act of creation are those purchased from Corbis or another<br />

image farm. And in purchasing, censoring happens. There is a free<br />

market in pencils; we needn’t worry about its effect on creativity. But<br />

there is a highly regulated, monopolized market in cultural icons; the<br />

right to cultivate and transform them is not similarly free.<br />

Lawyers rarely see this because lawyers are rarely empirical. As I<br />

described in chapter 7, in response to the story about documentary<br />

filmmaker Jon Else, I have been lectured again and again by lawyers<br />

who insist Else’s use was fair use, and hence I am wrong to say that the<br />

law regulates such a use.<br />

186 <strong>FREE</strong> <strong>CULTURE</strong><br />

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