The bitter end of the copyright debate

What happens when a sack of peanuts in China? The answer to us gives us the bitter discussion about the future of copyright

The current online discussion "Berthold Seliger vs Mark Chung vs the people" shows a very placative way that the copyright debate accelerated by the recovery of knowledge and culture has been driven a few years after her for some hopeful launch of her handlebars to the wall. Actually, the debate is at the end. And over. And how did that happen??

Currently, the Berlin concert organizer Berthold Seliger (article in concrete from November) and the Prasident of the German Association of Individual Music Companies E.V." (VUT), Mark Chung (which was earlier with exhibition and the falling new buildings, so has been culturally entitled to heard) that, who actually poses the artists: the consumers (because they allegedly no longer buy so much, but prefer to buy foods) Music companies (because they give the artists too little money) or the technology companies such as Google, Rapidshare and all internet providers, because the yes make money through the internet usage and associated advertising revenues without the artificial learning (also in individual cases, such as Google’s YouTube).

We are clear to us that already the established basic amptions are Tendzios and most likely not to lead to a societal consensus. We are also clear to ourselves that the music… No, the tone carrier distribution industry here only as, if very placant, for example for the current development around the "Intellectual property" serving.

If two argue, Continued

Blessed as a lobbyist, because he represents the boss of a nominal indie-bond positions of the corporations, and the latter reveals itself by the fact that he as the fire letter of the concert organizer as "fierce", "Reported to polemics" and at all "factually" haunted. It is interesting that he is his position with a long "Literature" underpin, but which is only partially available online and, among other things, consists of the well-known studies, which are based on treasures of the music companies themselves, thus provide recursive results.

According to the challier, the copyright problem is only a problem with the increasing tunneling of the cultural and knowledge-worthwhile industry, while a basic conflict between the one hand media companies and artists and on the other hand sees technology groups. The latter were simply so with the spiritual performance of the creative. As well as the manufacturers of radio receivers, vinyl plate players, wax rolls? For the wide public, this discussion is rather sophisticated – who increases the time, for hours of foreign language, more or less academic sources on their meaning?

Which has not been said so far

I liked a few points that for development, especially the music industry, as well as the entire "Copyright industry" play a major role, but still not mentioned by the two counterparties:

The structural change of the last 10 years (A.k.a. Information Revolution) In conjunction with the TurboBoost of Global Finance Capitalism, the mass of music consumers has brought into an economic situation, which dear the budget budget for luxury uses like music or movie messages to zero. 20 years ago, there were the social classes in Germany "Precariat" Not yet, today every seventh employee is paid in West, and every fourth in East Germany to the army of the opportunity. How many CDs, DVDs, Blu-rays, video game slices can be afforded by 364 euros per month? And how many, if you have a job, unchecked but also children?

At the same time, Digital Technology restores the negotiation power of consumers: were able to determine the prices at its own discretion in the analog-oriented media provider, today consumers have the choice of preserving and passing on the media for free, which further reduces the value of distribution as a service. So it was the task of the usage to find out the optimal, market-ready final sale price instead of for downloads stubborn to demand the same, which one had to spend a tone carrier. What the uses as "Pirate" and "Internet piracy" want to see criminalized, from the point of view of consumers, a vote on the store budget on one-sided final sale prices. Habe Newell, Chief of the successful computer games developer Valve and the even more successful online gaming sales platform Steam says: "Pirates Are Under-Served Customers". ubersteinstein: pirated copiers are negligible customers. The art of modern marketing is it, so Newell to find the right price for the relevant market; In the former copy paradise of Russia, Steam is also very successful.

In addition, the competition has increased greatly: Who is still buying a music CD for 15 euros to have the songs then maternable for his mp3 player ribs when he can have a prompt computer game at the sell-out price for 10? However, the roughest enemy of the tone carrier is the MP3 player, and the inability of the distribution corporations to react to it.

I carried out polls in the smaller framework (three-digit number of participants) before, two years ago, whose results are at least as relevant as other investigations on the subject, at least as far as they are based on estimates. So I responded to my readers last October last year: What goods, a CD (or an album download), as challenged by the British Music Manager Rob Dickins, was only a 1.15 euros cost? 83% were then always payable, 6% were also downloaded for free, and only 1% has nothing against the current, over 10 times so high price. Is that clear? For a more early opportunity, I asked about the accepted price and gave the answer possible "I do not want any CDs anymore": 33% do not want any slices, no matter at what price. The numbers were allowed to move something else to this day.

The end is close, but that’s not bad

But so far these are only arguments that are promised upwardly promised wall at which the copyright debate should end, is only now. The music… TontragerSales industry generally generates 1.67 billion euros in Germany. The (continuously growing) film industry also elevates about 2.8 billion here., The gaming industry 1.4 billion. The third amount appears somewhat low, but also only selling at the counter, without Steam, World of Warcraft and Farmville. But well, let’s take the numbers as they are, then this adds to decrease 5.9 billion euros in sales in Germany.

I’ll say a pair of names: Sudzucker, Benteler, Johnson Controls, DM-DrogerMarkt, OMV, Freudenberg. Who knows the? These are all companies that each for each year approximate as much as the above-collision entertainment industry. So around the or just under six billion euros. What goods, purely theoretically, if Sudzucker just ware? Or Freudenberg? A few hundred workplaces less? So much dismissed, Siemens, Siemens or Telekom per minute, without anyone notices. This beer-cover calculus looks a bit polemic at first glance, but shows very clearly the conditions: the entire "Entertainment industry" (Only data carrier, without beans etc.) is economically less significant than a regional Heizolhandler, an EU subsidized Rubenzuckerring or a drugstores.

Conclusion, at least from my side: Seliger has right, Chung represents viewpoints from a past century. There is, economically, cheaper, if we leave the distributors bankruptcy and pay the artists elsewhere. They get that, if they do well, a maximum of 5% from the final sales price (here specifically in the music sector, with book publishers not much different, with film and games it is more complex), ie transient 83.5 million for musicians, 120 million for actors and Camera and 70 million for game programmers. And that’s what we should do, the people, rationalwise do: set up a fund of 273.5 million peanuts and restore the postal and telecommunications secrecy, and get a blowing, fearful culture as a driving device.

Conclusion, in short words: The copyright debate is a paper tiger. The entertainment industry is no, but a sack of peanuts. If this sack has fallen, no matter where, no one will notice. This should keep each burger in mind (the copyright recycling, too, and a little more modestness Uben). More is not.

Disclaimer: The very modest author of these lines is not only active member in the Pirate Party Germany, but also authors, and faults his refrigerator in particular by the chamfer of its spiritual performance and their for the consumer of free distribution on websites like this. Go then.

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