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34 th ATRIP Congress Cape Town, 29/09/2015 Copyright and Autonomous Art Prof. Martin Senftleben VU University Amsterdam Bird & Bird, The Hague
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Disenchantment of copyright critique of romantic authorship industry and innovation focus economic analysis risk of neglecting ‘true’ artists advancement of art as central goal aesthetic theories
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Importance for society
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Sociological analysis
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Pierre Bourdieu
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Niklas Luhmann theory of closed social systems each system has its own, distinct identity boundary between a system and its environment Pierre Bourdieu autonomous social spaces (‘fields’) with individual rules, dominance structures and set of opinions but not isolated from surrounding fields and processes Theoretical Framework
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Art, money, power
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Constant internal fight competing players –autonomous, independent artists –bourgeois, dependent artists predominance and leadership –dictating internal discourse –consecration power –quality standards constantly changing structure
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nomos: l’art pour l’art Autonomy
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depends on the degree of discourse and consecration power of independent, autonomous artists predominance of dependent, profit-oriented mainstream artists endangers autonomy of the literary and artistic field current crisis because of continuously growing power of commercial players
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Critique of copyright
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Rationales of protection incentive (utilitarian approach) reward (natural law approach) thus: focus on financial benefits –aligned with interests of dependent, bourgeois mainstream artists? –neglecting the interests of independent, autonomous artists? –enticing autonomous artists away from the l’art pour l’art logic of the field?
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Engine of ‘true’ art
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Preserving the autonomy of the field public goods dilemma –non-rivalry, non-excludability –direct provision: taxes –indirect provision: copyright subsidizing ‘true’ art –cross-financing –collecting societies –domaine public payant
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The end. Thank you! For publications, search for ‘senftleben’ on www.ssrn.com. contact: m.r.f.senftleben@vu.nl
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