Modèles économiques des biens immatériaux

Sujets abordés par Morand et Merlet

Lawrence Lessig :

Well, think about photographs. The same dynamic happened with photography. In the old days, when the only people who had cameras were professionals, the quality of photographs was very good. Then, all this consumer cameras and then digital cameras came along, so the number of pictures in the world went up dramatically, and the average quality of them went down. Now, you would say, “Did that mean that there wasn’t a demand for professional photographers?” Well, a lot of them went away, but there are still pretty good professional photographers who are hired for substantial amounts for their particular professional work.

My point, I think, is slightly different. All I’m saying is we need to have a world where everybody’s on the level playing field — every creative work is protected in some sense. I just want to radically lower the cost of negotiating that protection. If we radically lowered the cost of negotiating that protection, then the best work would rise to the surface more easily, and people would be rewarded for having figured out how to produce that best work.
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There are so many fantastic databases out there that are being developed, blockchain databases, that would allow us to do much more in identifying provenance and ownership of content. I think that if they were set up so that the copyright office could recognize them, that would be the best of both worlds. We don’t want the copyright office doing it because no government agency is going to have the capacity to do it in the creative ways that it’s being done right now, but we need to get to a place where that is easier, and I think the market could drive us there more effectively than the copyright lawsuits because copyright applied to provenance claims is going to be a really hard thing to enforce.

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Modèles économiques des biens immatériaux