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Digital Culture: The Changing Dynamics Similarly, looking at specific branches of cultural production – the music industry as part of the creative industries of the region – Table 5 below shows us data on domestic music piracy levels in 2004. Table 5: Domestic music piracy levels in 2004* Country Over 50% 25-50% 10-24% Less than 10% Europe Bulgaria Croatia Belgium Austria Czech Republic Cyprus Finland Denmark Estonia Hungary Netherlands France Greece Italy Slovenia Germany Latvia Poland Spain Iceland Lithuania Portugal Ireland Romania Slovakia Norway Russia Sweden Serbia/Montenegro Switzerland Turkey UK Ukraine Domestic music piracy levels are calculated as pirate units divided by legal units plus pirate units. *Source: IFPI, 2008 . Although the table above does not give us data on all the countries of the region, one can note the trend, which shows that the majority of the SEE countries presented here have a high domestic music piracy rate of over 50%, while only Croatia has a rate lower than 50%. Piracy as defined previously (organized piracy for commercial purposes) is thus very much present in the SEE region according to the available data presented above. On the other hand, what should be mentioned are the new models of digital distribution, promotion and exchange, primarily p2p, that are branded as piracy. The distinction has to be made. In this regard, we would agree with Lawrence Lessig (2004: 66) when he stresses “…even if some piracy is plainly wrong, not all ‘piracy’ is”. Lessig stresses that there are questions raised by the p2p sharing as the latest “piracy” concern, but we need to understand it better before defining it as piracy. “For (1) like the original Hollywood, p2p sharing escapes an overly controlling industry; and (2) like the original recording industry, it simply exploits a new way to distribute content; but (3) unlike cable TV, no one is selling the content that is shared on p2p services. These differences distinguish p2p sharing from true piracy. They should push us to find a way to protect artists while enabling this sharing to survive” (Lessig, 80
Access, piracy and culture: the implications of digitalization in Southeastern Europe 2004: 66). Otherwise, if we take the usage of p2p shared material as piracy, then almost everybody using the Internet is a pirate, and an insurmountable number of lawsuits would appear. The practice has shown that p2p actually helps promotion of artists, the making of new content and new ways of creating (Lessig, 2004: 60). Furthermore, the power of peer production, distribution and filtering changes the economics of culture and commerce, as shown by Anderson (2006) in his work. The alternative licences such as Creative Commons (CC), Copyleft and other similar licences, although present, are not well known or widely accepted in the mainstream cultural industries in the region, which creates certain confusion among cultural workers in the SEE region (Primorac, 2008: 34). This might come as no surprise as CC licences for some of the countries have not been promoted, or only recently. 13 Completed and developed licences are available for the jurisdictions of Bulgaria, Macedonia, Serbia, Greece and Croatia, while for Romania the work on licences is still in progress. In this way when discussing the “alternative licences” with cultural workers in the region, one usually does not speak of such models as CC and similar, but about the self-made models of protection that authors develop so as to protect themselves and their work, as they cannot rely on the legislation being applied. The data presented above show that, when talking about access and ICT infrastructure, one needs to stress that on a technical level participation in the digital arena in the SEE region has been in part through pirated software (as shown in Table 4). Part of the cultural goods in the region have been exchanged in this way (through the grey economy), through the diverse channels of distribution of these materials (i.e. through the sales of copied works on CDs, DVDs or cassettes) on the markets in the city, renting of CDs in CD shops, photocopying of entire books, etc. This is not only limited to the level of cultural consumption but to the level of cultural production as well – of mixing and matching of selected cultural materials. This issue is of interest in the SEE region (although it is not a specificity only of this region). It can be illustrated in relation to the SEE context through the welcome note of the Romanian president Traian Basescu to Bill Gates on the opening of the Microsoft centre in Bucharest: “Piracy helped the young generation to discover computers. It set off the development of the IT industry in Romania”. 14 This opens up discussion as to what can be defined as piracy and whether there are any other models available that 13 For Macedonia the licence was prepared for June 2007, and for Serbia in December 2007. 14 Quote taken from Thomson (2007). Bill Gates of course did not answer this note, on the one hand as he is one of the severest advocates of copyright in the software business, but also because he knows that piracy promoted their products and thus made his success easier. In a period when he was not so strict on piracy issues he noted: ”They’ll get addicted and then we’ll collect” (Piller, 2006). 81
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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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PART ONE DIGITAL CULTURE - THE NEW
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References Managing culture in virt
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Ecology of the media and hyperhuman
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languages on the Internet - mainly
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governmental or corporate action pl
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References Culture Interactive Cult
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A glance at the Cuban culture throu
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This paper attempts to: • provide
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websites that fused into what we ma
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