Discourse, justification and critique: towards a legitimate digital copyright regime?

Copyright: a systemic marketplace icon

“…It is mainly invoked as a rationale for enforcement: breaking a law justifies the imposition of punishment. This narrative has characterised aggressive enforcement campaigns, but exists alongside a more common, softer approach where copyright is explained to users (who cannot draw on sensory, experiential data to understand its importance) and presented a resource for the construction of a consumer identity framed in terms of market morality (Edwards et al 2015a).…”

“…to create; countries remain globally competitive; economies remain stable; and creative quality is protected (Edwards et al 2015a;Klein, Moss, and Edwards 2015, see also (for example) http://copyrightalliance.org/about/who-we-are/ and http://www.allianceforip.co.uk). To achieve these outcomes, consumers have to literally buy into the idea of copyright, and some campaigns commodify copyright compliance as a pseudo-brand, through certification processes verified by logos that symbolise trust (in the product), (consumer) honesty and (consumer) ethics.…”

“…Copyright is transformed into a "brand" that acts as a "material marker" of a potent ideology (Holt 2016) that imposes obedience on consumers. For example, the "Music Matters" campaign initiated by the British Phonographic Industry in 2010, and now running across Australia, New Zealand and the United States, introduced a "trustmark" for consumers to look out for in shops as a guide to ethical (read: legal) purchasing choices (Edwards et al 2015a, see also www.whymusicmatters.com). "Get it Right from a Genuine Site" is a UK-government-funded "awareness campaign" carried out in partnership with rights holders and internet service providers, in order to "educate consumers about the wide range of legal sources of content available to UK consumers and promoting [sic] the value of creative content and copyright which underpins it" (Intellectual Property Office 2017, see also www.…”

“…The exchange is defined in material and experiential terms: in the former case, one makes a purchase and receives an object (a DVD, a CD) in exchange. In the latter, engaging with creative work such as a film or a piece of music, delivers an emotional experience that may be uplifting, inspirational and memorable -and this, too, should be paid for (Edwards et al 2015a). For example, the Industry Trust anti-piracy campaign for the film, video and TV industries, Moments worth Paying For (http://www.industrytrust.co.uk/ campaigns/moments/) emphasises the value of the emotion and passion that audiences enjoy, rather than only the product.…”

Access to Culture in the Digital Environment: Active Users, Re-use and Cultural Policy Issues

“…Thus, issues related to copyright and open access present relevant framework for considering access to culture in the digital domain. Current debates include those advocating for the promotion of openness and participation and others that seek restrictions and centralised control (Edwards at al., 2015). In order to address issues of cultural and societal reach, as well as fundamental rights and freedoms in the context of digital culture, policy principles need to consider issues of curation, equity of access, openness, participation and accountability.…”