Copyright as Property in the Post-Industrial Economy: A Research Agenda

The incentives-for-authors formulation of copyright’s purpose is so deeply ingrained in our discourse and our thought processes that it is astonishingly hard to avoid invoking, even when one is consciously trying not to do so. Yet avoiding that formulation is exactly what we ought to be doing. Everything we know about creativity and creative processes suggests that copyright plays very little role in motivating creative work. In the contemporary information society, the purpose of copyright is to enable the provision of capital and organization so that creative work may be exploited. And the choice of copyright as a principal means of promoting cultural production has consequences for the content of culture as well.This reframing has four important consequences for debates about copyright law and policy. First, abandoning the incentives-for-authors story requires us to talk about cultural progress differently. The incentives-for-authors story has functioned as a smokescreen, enabling scholars, judges, and legislators to conflate economic and creative motivation. Severing the motivational link between creativity and economics requires us to come up with a better understanding of how cultural progress emerges, and a more accurate account of how the economic incentives that copyright provides affect progress more generally. Second, an account of copyright as incentives-for-capital suggests a different approach to conceptualizing the kind of “property” that copyright represents. Copyright scholars habitually compare copyright to property in land, a conceptual move that passes over an important stage in the evolution of economic activity and associated economic rights. There are important benefits to be gained from comparing post-industrial, information property to industrial, corporate property, and copyright law more explicitly to corporate law. Specifically, copyright law in the post-industrial era works to separate authorship from control of creative works so that a set of coordination and governance problems closely associated with information resources can be solved. Third, comparing copyright more explicitly to industrial, corporate property and legal regimes governing its use suggests some different ways of thinking and talking about problems of social welfare that so often bedevil regimes of property law. Fourth, comparing copyright more explicitly to industrial, corporate property foregrounds copyright law’s (largely unrealized) potential to function as a tool for ensuring accountability to the authors without whom the copyright system could not function

Cultural and economic complementarities of spatial agglomeration in the British television broadcasting industry: Some explorations.

This paper considers the processes supporting agglomeration in the British television broadcasting industry. It compares and contrasts the insights offered by the cultural turn in geography and more conventionally economic approaches. It finds that culture and institutions are fundamental to the constitution of production and exchange relationships and also that they solve fundamental economic problems of coordinating resources under conditions of uncertainty and limited information. Processes at a range of spatial scales are important, from highly local to global, and conventional economics casts some light on which firms are most active and successful

Annotated bibliography of community music research review, AHRC connected communities programme

This research review, consisting of a 90-entry annotated bibliography, was produced as part of an AHRC Connected Communities programme project entitled Community Music, its History and Current Practice, its Constructions of ‘Community’, Digital Turns and Future Soundings. It supports a 2,500 word report written with this same title for the AHRC

No Accounting for Culture? Value in the New Economy

This paper explores the articulation of the value of investment in culture and the arts through a critical discourse analysis of policy documents, reports and commentary since 1997. It argues that in this period discourses around the value of culture have moved from the direct economic contributions of the culture industries to indirect economic benefits. These indirect benefits are discussed under three main headings: creativity and innovation, employability and social inclusion. These in turn are analysed in terms of three forms of capital: human, social and cultural. The paper concludes with an analysis of this discursive shift through the lens of autonomist Marxist concerns with the labour of social reproduction. It is our argument that, in contemporary policy discourses on culture and the arts, that government in the UK is increasingly concerned with the use of culture to form the social in the image of capital. As such we have to turn our attention beyond the walls of the factory in order to understand the contemporary capitalist production of value

Common Territory? : Comparing the IMP Approach with Economic Geography

The IMP research tradition has always been open to the cross-fertilisation of ideas with other social science disciplines that study similar phenomena. Recent years have seen a growing interest among IMP researchers in phenomena such as regional strategic networks, spatial clusters and innovation and new business development in networks. IMP papers published on these topics are increasingly citing conceptual frameworks and empirical findings from the field of economic geography. This paper discusses the development of IMP thought and the development of thought in economic geography (particularly evolutionary economic geography), and compares their approaches to the analysis of regional phenomena. The goal is to identify key ideas from economic geography that have been under-exploited in IMP research, in order to suggest original new approaches available to IMP researchers interested in these fields. A number of such ideas are explored: proximity as a multi-dimensional and multi-faceted concept; the distinction between, and relative importance of, learning activities arising automatically from being embedded in a community (local or regional buzz) and learning activities arising from positive investment in channels of communication (pipelines); the concept of relational capital developed by economic geographers; and, conceptualisations of externalities commonly used in the study of spatial clustersPeer reviewedFinal Accepted Versio

Cultural industries, nation and staten in the work of Renato Ortiz: a view from inside the Anglosphere

This short essay reflects on Renato Ortiz’s work and its reception in the Anglosphere. It then discusses the author’s meeting with Ortiz in Scotland during a European-Latin American ‘encounter’ set up to discuss cultural identity and communication. Contextual changes in the past two decades are noted and the essay moves on to consider how Ortiz addressed ‘cultural industries’ in A moderna tradição brasileira. The essay concludes by relating this perspective to the contemporary debate on the ‘creative economy’

Creative enterprise in west Yorkshire Arts organisations

This report describes and theorises the findings of a workshop discussion, commissioned by WYLLN, into the views of arts organizations on the challenges they face in becoming more enterprising and less grant dependent

No measure for culture? Value in the new economy

This paper explores articulations of the value of investment in culture and the arts through a critical discourse analysis of policy documents, reports and academic commentary since 1997. It argues that in this period, discourses around the value of culture have moved from a focus on the direct economic contributions of the culture industries to their indirect economic benefits. These indirect benefits are discussed here under three main headings: creativity and innovation, employability, and social inclusion. These are in turn analysed in terms of three forms of capital: human, social and cultural. The paper concludes with an analysis of this discursive shift through the lens of autonomist Marxist concerns with the labour of social reproduction. It is our argument that, in contemporary policy discourses on culture and the arts, the government in the UK is increasingly concerned with the use of culture to form the social in the image of capital. As such, we must turn our attention beyond the walls of the factory in order to understand the contemporary capitalist production of value and resistance to it. </jats:p