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Creative Commons dates back to 2001, when a number of figures from the academic world recognized that there was no mechanism in place to inform Internet users how to easily locate copyright owners. Nor was there a way for Web users to determine whether works posted on the Internet -- essays, articles, photographs, poetry, music -- could be used freely as public-domain works or in some ways without the copyright owner's permission.
I,m sure artists will act sensibly and retain rights to the majority of their works and licence them accordingly (not sell them to the Cartel).
The Supreme Court is expected to rule next month whether Grokster, a Napster-like file-sharing network for downloading music and other digital entertainment, can be held liable for facilitating copyright infringement. But even if the music industry wins the case, two marketing professors at the W. P. Carey School of Business argue that it will ultimately lose if it keeps fighting consumers. Their research suggests that trying to stem music downloads through legal action and technology is likely to cost the industry more business than it preserves.
Let's face facts, when it comes to digital files, copyright is dead.Not because the idea copyright has no merit. A creator of a work has the right to control, in any way they choose, the use of that work. Copyright is dead because it is impossible, despite thousands of RIAA lawsuits to the contrary, to enforce copyright laws in a digital world.The lines of conflict between those who believe that digital works exist for the taking, and those (like me) who believe that creators of any form of intellectual property have the inherent right to control the use of that work, are well and clearly established
We all in our hearts know that we like to pay for what we like
In 2003, the six major studios—Disney, Warner Bros., Sony, 20th Century Fox, Universal, and Paramount—spent, on average, $34.8 million to advertise a movie and earned, on average, just $20.6 million per title. Even if the studios had made the movies for free—which, of course, they didn't—they would have lost $14.2 million per film on the theatrical run, or what the industry calls "current production." Given the fleeting attention span of the target audiences (mainly TV-watching teens) and the unmemorable nature of the ad copy, the studios believe they must show the same ad on the same programs at least eight times in order to draw an audience. As a result, the studios spend more to lure a teenager into a theater than they receive at the box office, which is reminiscent of the joke about the idiot in the garment business who "loses money on every sale but makes it up on volume."
