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Dialogue: 0,0:00:00.09,0:00:03.76,Default,,0000,0000,0000,,[source of the video]
Dialogue: 0,0:00:08.75,0:00:11.50,Default,,0000,0000,0000,,OK, that's here our introduction to an argument I want to make here today
Dialogue: 0,0:00:11.93,0:00:17.26,Default,,0000,0000,0000,,And the argument invokes an idea that my friend and colleague Jamie Boyle
Dialogue: 0,0:00:17.40,0:00:19.70,Default,,0000,0000,0000,,has been speaking of for more than a decade.
Dialogue: 0,0:00:20.56,0:00:25.85,Default,,0000,0000,0000,,So this Idea is that we recognize first that creativity happens within an ecology.
Dialogue: 0,0:00:27.61,0:00:32.01,Default,,0000,0000,0000,,An ecology, an environment that sets the conditions of exchange.
Dialogue: 0,0:00:33.85,0:00:38.25,Default,,0000,0000,0000,,And number 2 these ecologies are importantly different.
Dialogue: 0,0:00:39.55,0:00:42.58,Default,,0000,0000,0000,,There are different ecologies of creativity.
Dialogue: 0,0:00:43.71,0:00:47.38,Default,,0000,0000,0000,,Some of these ecologies have money at the core
Dialogue: 0,0:00:49.24,0:00:52.88,Default,,0000,0000,0000,,Others don't have money at the core.
Dialogue: 0,0:00:53.93,0:00:58.57,Default,,0000,0000,0000,,And some have money and practices that don't depend upon money
Dialogue: 0,0:00:58.62,0:01:03.13,Default,,0000,0000,0000,,right at the core. They are different ecologies of creativity.
Dialogue: 0,0:01:04.39,0:01:07.10,Default,,0000,0000,0000,,So think about the professional ecologies of creativity,
Dialogue: 0,0:01:07.28,0:01:12.30,Default,,0000,0000,0000,,ecologies that the Beatles or Dylan or John Philip Souza created for.
Dialogue: 0,0:01:12.74,0:01:18.28,Default,,0000,0000,0000,,For these ecologies the control of the creativity is imposrtant
Dialogue: 0,0:01:18.37,0:01:22.56,Default,,0000,0000,0000,,to assure the necessary compensation that the artist needs
Dialogue: 0,0:01:22.64,0:01:25.55,Default,,0000,0000,0000,,to create the incentives for that artist to create.
Dialogue: 0,0:01:25.70,0:01:30.14,Default,,0000,0000,0000,,In these professional ecologies, these ecologies depend upon
Dialogue: 0,0:01:30.31,0:01:33.51,Default,,0000,0000,0000,,an effective and efficient system of copyright.
Dialogue: 0,0:01:35.08,0:01:38.75,Default,,0000,0000,0000,,But in what we could call an amateur ecology of creativity
Dialogue: 0,0:01:38.94,0:01:43.58,Default,,0000,0000,0000,,by which I don't mean amateurish, In stead I mean an ecology
Dialogue: 0,0:01:43.71,0:01:47.56,Default,,0000,0000,0000,,where the creator creates for the love of the creativity
Dialogue: 0,0:01:47.74,0:01:51.91,Default,,0000,0000,0000,,and not for the money. In that kind of ecology,
Dialogue: 0,0:01:52.07,0:01:57.27,Default,,0000,0000,0000,,an ecology that lives within what we could call, following Yochai Benkler,
Dialogue: 0,0:01:57.42,0:02:03.07,Default,,0000,0000,0000,,the sharing economy. That's the economy that children live within
Dialogue: 0,0:02:03.20,0:02:06.93,Default,,0000,0000,0000,,or friends live within, or lovers live within
Dialogue: 0,0:02:07.04,0:02:10.34,Default,,0000,0000,0000,,in those kinds of economies, for these -
Dialogue: 0,0:02:10.48,0:02:13.93,Default,,0000,0000,0000,,people don't use money to express value
Dialogue: 0,0:02:14.12,0:02:18.49,Default,,0000,0000,0000,,and to set the terms of their exchange.
Dialogue: 0,0:02:18.72,0:02:23.44,Default,,0000,0000,0000,,Indeed, if you introduced money into those sharing economies,
Dialogue: 0,0:02:23.58,0:02:27.86,Default,,0000,0000,0000,,you would radically change the character of those economies.
Dialogue: 0,0:02:28.04,0:02:32.44,Default,,0000,0000,0000,,So imagine friends, inviting the other for lunch the following week
Dialogue: 0,0:02:32.66,0:02:35.02,Default,,0000,0000,0000,,and the answer is "Sure, how about for 50 bucks?"
Dialogue: 0,0:02:36.72,0:02:40.33,Default,,0000,0000,0000,,Or imagine dropping money right in the middle of this kind of relationship
Dialogue: 0,0:02:40.48,0:02:43.92,Default,,0000,0000,0000,,we radically transform it into something very different.
Dialogue: 0,0:02:44.28,0:02:49.54,Default,,0000,0000,0000,,The point is to recognize how creativity in many contexts,
Dialogue: 0,0:02:49.69,0:02:52.68,Default,,0000,0000,0000,,in the context Souza was romanticizing,
Dialogue: 0,0:02:52.91,0:02:56.71,Default,,0000,0000,0000,,is a creativity that exists outside of an economy of cash.
Dialogue: 0,0:02:57.51,0:03:02.73,Default,,0000,0000,0000,,In this sense, this amateur ecology depends not upon control
Dialogue: 0,0:03:02.94,0:03:08.27,Default,,0000,0000,0000,,and copyright, but instead depends upon this opportunity for free use and sharing.
Dialogue: 0,0:03:09.42,0:03:13.69,Default,,0000,0000,0000,,And then finally, think about the scientific ecology
Dialogue: 0,0:03:13.76,0:03:18.44,Default,,0000,0000,0000,,of creativity, of the scientist, or the educator, or the scholar.
Dialogue: 0,0:03:18.59,0:03:21.39,Default,,0000,0000,0000,,There's a very interesting picture here, this 16th century scholar
Dialogue: 0,0:03:21.47,0:03:24.82,Default,,0000,0000,0000,,notice the kind of guilty look on his face. And look down
Dialogue: 0,0:03:25.00,0:03:29.24,Default,,0000,0000,0000,,and see exactly what he's doing: he's copying from that book.
Dialogue: 0,0:03:29.35,0:03:32.83,Default,,0000,0000,0000,,He's just a pirate from long ago this scholar here, right?
Dialogue: 0,0:03:32.92,0:03:37.53,Default,,0000,0000,0000,,because of course, scholarship is and has always been this activity
Dialogue: 0,0:03:37.65,0:03:42.22,Default,,0000,0000,0000,,of creating within a mixed economy of free and paid
Dialogue: 0,0:03:43.15,0:03:46.59,Default,,0000,0000,0000,,A creator here has a love for his or her creativity,
Dialogue: 0,0:03:46.71,0:03:50.17,Default,,0000,0000,0000,,a love that exceeds how much she or he is paid.
Dialogue: 0,0:03:50.77,0:03:57.98,Default,,0000,0000,0000,,But it's that economy that defines the mixed ecology of scientific knowledge
Dialogue: 0,0:03:58.20,0:04:02.19,Default,,0000,0000,0000,,This ecology depends not upon exclusive control,
Dialogue: 0,0:04:02.40,0:04:07.11,Default,,0000,0000,0000,,but both on free and fair use of creative work that is built upon
Dialogue: 0,0:04:07.26,0:04:12.37,Default,,0000,0000,0000,,and then spread. Now, the key here is to recognize that these ecologies
Dialogue: 0,0:04:13.39,0:04:18.18,Default,,0000,0000,0000,,coexist. They complement each other.
Dialogue: 0,0:04:19.59,0:04:25.31,Default,,0000,0000,0000,,And here is the critical point: a copyright system must support
Dialogue: 0,0:04:25.44,0:04:31.86,Default,,0000,0000,0000,,each of these separate ecologies. It's not enough for it to support one
Dialogue: 0,0:04:31.96,0:04:36.30,Default,,0000,0000,0000,,and destroy the others. It must support each of them, it must
Dialogue: 0,0:04:36.36,0:04:39.33,Default,,0000,0000,0000,,support the professional ecology of creativity,
Dialogue: 0,0:04:39.43,0:04:41.72,Default,,0000,0000,0000,,through adequate and efficient incentives.
Dialogue: 0,0:04:42.53,0:04:47.87,Default,,0000,0000,0000,,But it must also support the amateur and scientific ecologies of creativity
Dialogue: 0,0:04:48.00,0:04:50.47,Default,,0000,0000,0000,,through essential freedoms that they depend upon.
Dialogue: 0,0:04:50.57,0:04:55.33,Default,,0000,0000,0000,,Or again, more graphically, copyright needs to do two things, not just one.
Dialogue: 0,0:04:56.72,0:05:00.03,Default,,0000,0000,0000,,It needs to provide the incentives that the professionals
Dialogue: 0,0:05:00.11,0:05:08.31,Default,,0000,0000,0000,,need by protecting the freedoms that the amateur and scientific creations need.