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Digital Culture: The Changing Dynamics intellectual property and is criminalizing users as pirates in order to preclude this transformation, an ever greater number of creators make their work freely available for users to share and co-create, parallel to or outside of those industries. To add to this plight of traditional incumbents in the cultural and media industry, there are new economic actors gaining ground, whose business models are based on growing user-generated content, crowd-sourced production, syndication and access to copyrighted material. Theirs is a model where the greater the social utility, social participation and sharing, the greater the economic value. It is a model where their own product – the technological platform – comes only second to the user-base and the content it generates. An economic transformation of culture from a production model, based on scarcity and control over cultural goods, into a production model, based on abundance and access to cultural goods, is unfolding. And yet, behind this economic transformation there is another, deeper transformation unfolding – a transformation in the way we understand culture and media as forms of communication. As was recently observed by the ever so ingenious Clay Shirky, 2 while we used to spend hours on end watching television and – in times before television – pursuing other leisurely pastimes, more and more people nowadays choose to allocate some of that time and cognitive resources to writing blogs, editing wiki articles, producing alternative newscasts, expanding communication with their contacts on social networking sites and growing their online communities. Many are perplexed by these forms of productive behaviour, puzzling as to where people find the time and, particularly, where people find the motive to do so, given the fact that there is no economic incentive for participation. Yet, as Shirky estimates, over 200 billion hours is spent every year watching television (just in the United States) while the cumulative effort invested so far in the largest and most prominent of user-generated projects – the online encyclopaedia Wikipedia – amounts to a mere 100 million hours of cognitive effort. As TV viewers report spending increasingly less time watching television in favour of the Internet, 3 that leaves very little “social surplus” time that needs to be freed up for a project as large as Wikipedia to be created. And, what is more, there need not be an economic incentive for it, as TV viewing comes with no economic incentive either. More 2 Clay Shirky, “Gin, Television, and Social Surplus” http://www.herecomeseverybody.org/2008/04/looking-for-the-mouse.html/ 3 Although TV viewing time has been on the rise globally, viewers report preferring to spend more time on the Internet, which over recent years has seen a rise in order of magnitude greater than that of TV viewing. However, new formats of TV delivery - digital video recorders, mobile devices, and, in particular, through the Internet in the form of user-submitted content - have contributed to increased TV viewing: “IBM Consumer Survey Shows Decline of TV as Primary Media Device” http://www-03.ibm.com/press/us/en/pressrelease/22206.wss/ 60
Transformations of cultural production, free culture and the future of the Internet intriguingly, however, are the other incentives that come into play – incentives typical of creative rather than consumptive behaviours: self-expression, knowledge acquisition, social recognition, reputation, sharing, collaboration. For young generations reared on the Internet, the culture will come naturally defined in terms of creative behaviour: “Here’s something four-year-olds know: A screen that ships without a mouse ships broken. Here’s something four-year-olds know: Media that’s targeted at you but doesn’t include you may not be worth sitting still for... they just assume that media includes consuming, producing and sharing”. 4 This indicates the deeper transformation that culture and media as forms of communication are undergoing: from consumptive to productive, from monodirectional to multidirectional. In this article we wish to delve into the social implications of this transformation of cultural and media production, to reflect on the context of copyright regulation where the structural clash between incumbents – cultural and media industries – and their consumers-turned-producers is being played out, and to see how this clash might ultimately impact the future of the Internet. Technological sea change over the last two decades, spearheaded by the Internet, has led to an unprecedented ability of individuals and communities to communicate, organize, grow and express themselves freely. It has allowed both for greater diversification and greater integration, creating an unprecedented visibility of socially and culturally diversified communities, while at the same time exploding the cultural diversity out of its confines of national cultures and national languages. The central issue of this article is that: collaborative cultural production and free cultural works are two pivotal forms of how this transformation will sediment and augment cultural diversity. This article therefore emphasizes how collaborative cultural production and free cultural works emerge in particular forms of cultural interest and particular forms of cultural exchange. Commons-based peer production To understand the social implications of collaborative cultural production and free cultural works we need to go back to an event that predates the Internet. In 1984, Richard Stallman, a software developer at the MIT A.I. Labs, came to realize that software, up to that point developed through the same collaborative and open methodology through which scientific discoveries were made and distributed in an uncommodified form as a complement to the computer it was sold with, was starting to become closed, packaged and sold – no longer accessible for others to study, improve and distribute. Thinking that software – the code running the computing 4 Clay Shirky, “Gin, Television, and Social Surplus” http://www.herecomeseverybody.org/2008/04/looking-for-the-mouse.html/ 61
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CULTURELINK Network of Networks for
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Managing culture in virtual realms:
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Foreword Digital culture is a new c
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INTRODUCTION
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Digital Culture: The Changing Dynam
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Digital culture in policy documents
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communication and economic producti
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informatization of processes in ins
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global critical consciousness that
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websites that fused into what we ma
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Internet costs nothing in any forei
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