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• W3124191424 abstract "ABSTRACT At the moment that for creation meet preferences for the same, the economic account of copyright loses its explanatory power. This piece explores the ways in which the desire to create can be excessive, beyond rationality, and free from the need for economic incentive. Psychological and sociological concepts can do more to explain creative impulses than classical economics. As a result, a copyright law that treats creative activity as a product of economic incentives can miss the mark and harm what it aims to promote. The idea of abundance--even overabundance--in creativity can help define the proper scope of copyright law, especially in fair use. I explore these ideas by examining how creators think about what they do. As it turns out, commercially and critically successful creators resemble creators who avoid the general marketplace and create unauthorized derivative works (fanworks). The role of love, desire, and other passions in creation has lessons for the proper aims of copyright, the meaning of fair use, and conceptions of exploitation in markets. TABLE OF CONTENTS INTRODUCTION I. THE OFFICIAL STORY: NO MAN BUT A BLOCKHEAD EVER WROTE, EXCEPT FOR MONEY II. AUTHORS ON AUTHORSHIP: THE ECSTASY OF INFLUENCE A. Beyond Preferences: Compulsion, Love, and Other Narratives of Creativity B. The Women Who Love Too Much: Leaving the Market Behind III. LAW UNLIKE LOVE: SOME IMPLICATIONS A. What We Talk About When We Talk About Creativity B. My Own Kind of Freedom C. The Space Between Us: Intermediaries and Market Logic CONCLUSION INTRODUCTION As the Supreme Court has explained, [t]he economic philosophy behind the clause empowering Congress to grant patents and copyrights is the conviction that encouragement of individual effort by personal gain is the best way to advance public welfare through the talents of authors and inventors in 'Science and useful Arts.' (1) But if that economic philosophy is only partially correct as an empirical matter, the implications for copyright are substantial. Copyright's incentive model largely bypasses a persuasive account of creativity that emphasizes a desire for creation, grounded in artists' own experiences of creation. At the moment that for creation meet preferences for the same, the economic account of copyright loses its explanatory power. This piece explores the ways in which the desire to create can be excessive, beyond rationality, and free from the need for economic incentive. Psychological and sociological concepts can do more to explain creative impulses than classical economics. As a result, a copyright law that treats creativity as a product of economic incentives can miss the mark and harm what it aims to promote. The idea of abundance--even overabundance--in creativity can help define the proper scope of copyright law, especially in fair use. I explore these ideas by examining how creators think about what they do. As it turns out, commercially and critically successful creators resemble creators who avoid the general marketplace and create unauthorized derivative works (fanworks) when they talk about why and how they create. (2) Their similarities in motivation and inspiration help explain why exclusive rights must be carefully limited if we are to achieve the creativity to which a free and vibrant society aspires. Several notes of caution are in order: First, though my discussion here focuses on creators' own accounts of their creative processes, I am not arguing that creative impulses exist in isolation from social structures, any more than creators themselves do. Rather, the individual reports of how creativity is experienced as unpredictable, tyrannical, obsessive, and joyful are consistent with the thesis that creativity arises from unplanned and stochastic encounters with the world around us. …" @default.
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• W3124191424 date "2009-11-01" @default.
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• W3124191424 title "Economies of Desire: Fair Use and Marketplace Assumptions" @default.
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