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White paper on creativity - ebla center

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Part IIIis easy to see that such c<strong>on</strong>tent can be rapidly spread and simultaneously used by manyc<strong>on</strong>sumers.Sec<strong>on</strong>dly, the high costs of c<strong>on</strong>tent creati<strong>on</strong> and low costs of their reproducti<strong>on</strong>augment the risk of ec<strong>on</strong>omic losses for the producers.Investing in the creati<strong>on</strong> of a new film or the launch of a new book is the largest cost forthe c<strong>on</strong>tent industries. But this investment cost is written off independently of thesuccess of the work, since the investment is made before the market value of theproduct is known.Therefore the many failures <strong>on</strong> the c<strong>on</strong>tent and informati<strong>on</strong> market always mean lossesfor producers. And losses can <strong>on</strong>ly be recovered through greater profits due to thelaunch of a few successful products. In this sense, a key strategy for the c<strong>on</strong>tentindustries is to offer a vast and highly differentiated product portfolio.Intellectual propertyThe goods in the c<strong>on</strong>tent and informati<strong>on</strong> industries have a high creative c<strong>on</strong>tent andare part of the sphere of intellectual property, especially as c<strong>on</strong>cerns copyright andrelated rights.The easy reproducti<strong>on</strong> and distributi<strong>on</strong> of copies of works not <strong>on</strong>ly influences businessmodels in the c<strong>on</strong>tent industries but raises the questi<strong>on</strong> of how to protect the intellectualproperty rights of these goods.Given that the investment in the producti<strong>on</strong> of new c<strong>on</strong>tent is per se an irrecoverablecost which can <strong>on</strong>ly be covered by profits from successful sales, then the greatest dangerfor the c<strong>on</strong>tent industry is digital piracy.Precisely because reproducti<strong>on</strong> and distributi<strong>on</strong> costs of copies are minimal, the originalproducers could sell their goods at very low prices. But to ensure the creator has a return<strong>on</strong> the initial investment, the price of goods must be kept high.The illegal distributi<strong>on</strong> of copies of c<strong>on</strong>tent can erode the possibility of making profitsfor the producers, thus reducing the incentives to invest in the creati<strong>on</strong> of new works.That is why the protecti<strong>on</strong> of intellectual property becomes crucial for the producti<strong>on</strong>and distributi<strong>on</strong> of c<strong>on</strong>tent goods.We must not be led to believe, however, that greater intellectual protecti<strong>on</strong> always meansgreater incentives to produce c<strong>on</strong>tent and therefore greater social well-being. The causeeffectnexus between the protecti<strong>on</strong> of intellectual property and the creati<strong>on</strong> anddisseminati<strong>on</strong> of c<strong>on</strong>tent is very complex and depends <strong>on</strong> various factors. Since thediffusi<strong>on</strong> of c<strong>on</strong>tent and informati<strong>on</strong> goods generates positive externalities in thesubsequent c<strong>on</strong>sumpti<strong>on</strong> and underlies the producti<strong>on</strong> of new c<strong>on</strong>tent, excessiveprotecti<strong>on</strong> of intellectual property may have positive effects <strong>on</strong> the illegal distributi<strong>on</strong> ofcopies, but may also limit the positive externalities.WHITE PAPER ON CREATIVITY 157

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