In my paper I intend to analyze piracy as a fight for cultural freedom. My goal is to place piracy in the center of a cultural and artistic production/reproduction. Especially the restrictions of copyright in the role of cultural production/reproduction will go parallel with my argument. So other alternative licensing methods like copyleft, creative commons etc. will take place. I plan to make connections with the moral and the story of Robin Hood with using case studies of social and artistic productions. These may include Michael Mandiberg’s aftersherrielevine.?com, The Droplift Project, P2P file sharing, some of 01001011101101.org’s works, Wikipedia etc. The tools for production/reproduction and sharing has as much importnance as the cultural and artistic output so my paper will also look into these. Some of the questions that might raise about my argument will concern “is piracy really offensive to an artists work?”, “is copying and appropiation or digital reproduction reduces an artwork’s cultural value”, “is cultural value equivalent to market value?”, “do agreements like ACTA and organizations like RIAA consider people’s pirvacy”…
I will try to conclude my paper with the discussion of: “if cultural value is a resource, is there any possible way to distribute this freely?” But thinking the concept as in “free speech”, not as in “free beer”.
- Ali Halit Diker, Born 1983. Studied VACD in Sabanci University, Istanbul, Turkey. Studies Arts and Design graduate program in Yildiz Technical University Works at Infomag Publishing. semigodz.blogspot.com/
Full text (PDF) p. 663-667