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Questions about Barlow (B11-2)
Q: What role does convenience play in the future compensation of creation? How/why does it play this role? (cellis)
A: Barlow seems to think that because the internet creates the convenience for anyone to get a hold of any work, compensation of creation would increase instead of decline. He says it plays this role because the internet is basically a much larger advertisement for the artists. The more a work circulates, the more the masses at large are aware of it and can buy it. (kmartinez)
Q: In hindsight what could internet programmers done differently in order to curtail the illegal distribution of music, movies, etc. that anyone with an internet connection and computer is capable of doing? (jstanley)
A: I think Barlow attempts to say that the illegad distribution of music and movies and such was inevitable. Even if the music and movies were completelt protected 4 or 5 years ago, by now there have been numerous technical loopholes that totally make copyright laws obsolete to these "acne-faced kids". He makes a bold statement when he says , "along came Napster. Or more to the point, along came the real internet". Thus Barlow shows the inevitable result that the internet has been responsible for. (rsororian)
Q: According to Barlow, the implementation of file-sharing actually enhances the relationship between the artist and the audience. In your opinion, is commercial activity important and how does it relate to file-sharing and the "relationship" between artist and audience. (ijoshi)
Q: Why do you think that the "RIAA is unalterably convinced that the easy availability of freely downloadable commercial songs will bring on the apocalypse" despite that fact that CD sales have risen by 20% since mp3's began showing up online? (murban)
A:
A: Barlow seems to think that because the internet creates the convenience for anyone to get a hold of any work, compensation of creation would increase instead of decline. He says it plays this role because the internet is basically a much larger advertisement for the artists. The more a work circulates, the more the masses at large are aware of it and can buy it. (kmartinez)
Q: In hindsight what could internet programmers done differently in order to curtail the illegal distribution of music, movies, etc. that anyone with an internet connection and computer is capable of doing? (jstanley)
A: I think Barlow attempts to say that the illegad distribution of music and movies and such was inevitable. Even if the music and movies were completelt protected 4 or 5 years ago, by now there have been numerous technical loopholes that totally make copyright laws obsolete to these "acne-faced kids". He makes a bold statement when he says , "along came Napster. Or more to the point, along came the real internet". Thus Barlow shows the inevitable result that the internet has been responsible for. (rsororian)
Q: According to Barlow, the implementation of file-sharing actually enhances the relationship between the artist and the audience. In your opinion, is commercial activity important and how does it relate to file-sharing and the "relationship" between artist and audience. (ijoshi)
A: Commercial activity is important when we look at the music business for what it is... a business. However we as consumers tend to have idealized accounts of the music we listen to and the artists who create it. Making connections commercially seems like a lost cause. Nothing is connected, the money you make is taken from you to purchase the said CD. However a feeling of goodwill can replace this empty feeling if you connect the purchase of that CD to the benefit the artists or band experience when you purchase their CD at a retailer. Downloading music however seems to connect other consumers with other consumers while fans go behind their favorite artists back and acquire their new album. But once again what about the artists that freely distribute music? The relationship is complicated and involves many different perspectives. (daniel)
Q: Barlow makes the claim that it would be hard to "write a song" if you've never "heard a song." For Barlow it seems that it would be hard for anyone to create if we were not allowed access to copyrighted works. What does this mean for copyright? Should it be inflated and strengthened, or brought down a few notches? (Daniel)
Q: Why do you think that the "RIAA is unalterably convinced that the easy availability of freely downloadable commercial songs will bring on the apocalypse" despite that fact that CD sales have risen by 20% since mp3's began showing up online? (murban)
A:
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