Copyright and Artists: A View From Cultural Economics

Abstract

Most of the standard economic literature on copyright ignores a number of aspects that have considerable significance for cultural production and for artists,

Copyright and cultural work: an exploration

“…Both were pre-eminently concerned with protecting moral rights, namely 'rights of attribution, integrity, disclosure and withdrawal' that are highly relevant for an artist's reputation (Towse 2006: 571). Alcorn's specific concern about infringement was an emphatic insistence on this kind of recognition, more concerned with the potential injury to him as creator of the work than with any economic returns.…”

“…' (2011: 3) The assumption is that the rights regime per se will be of central interest to creators and condition how they work. However, Ruth Towse (2006: 581), in critiquing current orthodoxy in the field of cultural economics, has rightly questioned this supposition:…”

Public Policies for Creativity and Innovation: Promoting the Orange Economy in Latin America and the Caribbean 

“…In LAC, there are collective societies in different sectors, although they tend to be monopolies (natural monopolies, mainly in response to the limited size of the markets in these countries). See Towse (2008) for a more detailed discussion of regulating collecting societies. 41 Many types of works protected under the laws of copyright and related rights require mass distribution, communication, and financial investment for successful dissemination.…”

“…37 The WIPO is leading an international effort to clarify norms aimed at preventing unauthorized access to and use of creative works on the internet. 38 For many creative goods and services, usually more than one type of IPR is involved (see Foray, 2004;Hölzl, 2005;Towse, 2008). 39 This right of exclusive exploitation is theoretically indefinite, as long as it remains in use.…”

“…noted that "creativity is an input and content or intellectual property is the output." 36 The effects of digitalization are particularly prevalent in the music industry, new art forms, museum images, broadcasting, the press and journalism, publishing, and film production (see Towse [2006] and references therein). 37 The WIPO is leading an international effort to clarify norms aimed at preventing unauthorized access to and use of creative works on the internet.…”