copyfarleft in Sollfrank & Kleiner 2012

n't arbitrarily, as
artists, simply pretend that the industry as it is doesn't exist. [29:41] But
at the same time we can hope that alternatives will develop – that alternative
ways of producing and sharing cultural works will develop. So that the
copyfarleft license... [29:52] I describe the Creative Commons as
copyjustright. It's not copyright, it's copyjustright – you can tune it, you
can tailor it to your specific interests or needs. But it is still copyright,
just a more fine-tuneable copyright that is better for a Web 2.0 distribution
model. [30:12] The alternative is what I call copyfarleft, which also starts
off with the Creative Commons non-commercial model for the simple reason that,
as we discussed, if you are an actually existing artist in the actually
existing cultural industries of today, you are going to have to make a living,

at the
same time as those exist, build up new kind of institutions. We have to think
of new ways to produce and share cultural works. And only when we've done
that, will the cultural institutions as they are today potentially go away.
[32:09] So the copyfarleft license tries to bridge that gap by allowing the
commons to grow, but at the same time allowing the commons producers to make a
living as they normally would within the regular cultural industry. [32:25]
Some good examples where you can see something

ed any other way. So that means that
this capitalist form of production becomes the only form that you can
commercially produce this book – except for independents, just for their own
personal use. [33:25] Whereas if their book was instead under a copyfarleft
license, what we call the "peer production" licence, then not only could they
continue to work as they do, but also potentially their book could be made
available through other means as well. Like, independent workers cooperatives
could start manufac


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