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Limiting by total income disincentivises companies to spend heavily to produce e.g. films, plays, video games, whatever. At that point, you're effectively sayin

Limiting by total income disincentivises companies to spend heavily to produce e.g. films, plays, video games, whatever. At that point, you're effectively saying copyright is only sensible for things produced by a single unaided person. Sadly, copyright term is the only sensible (and easily enforceable) metric, although whilst I'd agree that the term is currently too long, reducing it to shorter than the creator's lifetime can lead to other weird situations. For instance, if copyright was just 20 years after something was created, a painting might have been created 20 years ago but never made public until later in their life, and so copyright has expired before they've ever tried to sell it. Maybe there was only public interest in their work later on in their career and suddenly their early work was now considered valuable. Or if it's 20 years from the date something was made available to the public, then you could reset the clock by creating a slightly different work (e.g. a book where page 200 contained a spelling correction), etc. How would you decide the copyright term then? Would pages 1-199 and 201-end be out of copyright and only page 200 copyrighted? And assuming we think lifetime of the creator makes sense, then we would need a different rule for companies, because companies can last forever. What we have right now, seems approximately the optimal solution in most cases. About the only thing I'd change is when nobody knows who the copyright holder is, which is particularly an issue with old software. There really should be some way of legally distributing abandonware if nobody can prove that they own the copyright.

pydry 2mo ago
>Limiting by total income disincentivises companies to spend heavily to produce e.g. films, plays, video games, whatever. I'm not sure we'd be any worse off as a society if, say, Disney wasnt incentivized to make 34 marvel movies. There are things where we desperately need large scale investment (e.g. manufacturing, green energy) but big budget artistic productions is probably one area of the economy where we could easily live without it.
- ralferoo 2mo ago
  Would be be worse off as a society without Snow White, Pinocchio, Bambi, Jungle Book, Mary Poppins, the Herbie series, and any of the many more recent films? If anything these films are a great example of why copyright terms should be long, because those films are still culturally relevant today, 60-80 years after they're made, and that people are still willing to pay for them over newer films shows that the creators and their families still deserve to continue to get royalties from them. Sure, film companies often make a quick buck from sequels, but it's interesting that copyright on characters is distinct from copyright on works. If anything it's surprising that you're arguing something other than the usual issue that's brought up around Disney, which is that their older works frequently took stories that were specifically out of copyright, and then they vigourously pursued copyright on the films they made from those stories.
  - basilikum 2mo ago
    > If anything these films are a great example of why copyright terms should be long, because those films are still culturally relevant today, 60-80 years after they're made, and that people are still willing to pay for them over newer films shows that the creators and their families still deserve to continue to get royalties from them. The people who get most of the money from these movies are the shareholders of huge media conglomerates, which is the only reason why these works still have copyright. Authors and their families are purely a pretense for this. The point of people deserving a monopoly over aspects of culture long after they created a work and deserving to censor the works of others who do not pay royalties to their monopoly – this is what copyright means – is weird. It sounds good as long as you read it as a feel good story without thinking about it, but it is ultimately moot. No, they do not. The argument is bizarre. We do not grant this privilege to anyone else. Everyone else gets paid for their work when they do it. They can even invest the money like everyone else. When you've hit it big with a creative work you are set for life. But when I build a house for you, I get paid once. I cannot get back to you 20 years later and demand payment once again because you are still living in it and benefiting from my work. It would be absurd. Obviously in creative works there is usually uncertainty. Most works are not created in exchange to a previously agreed commission by one party, but are created as an advance investment and then offered to the general public. We have to grant copyright to these works for a limited time so the author has the chance of making money from their work. There is no reason to extent this copyright beyond this limited time period and to grant authors such a special privilege. On the contrary there is all the reason not to do this as copyright is ultimately censorship and must be limited to the utmost minimal necessity. > Disney, which is that their older works frequently took stories that were specifically out of copyright, and then they vigourously pursued copyright on the films they made from those stories. That is perfectly fine. No one in their right mind would argue against that. The evil of disney is not creating derivative works of works in the public domain, but after the fact lobbying to retroactively extend copyright forever so that no work will ever fall into the public domain again; so that no one will be able to do the same as them – creating derivatives to decades old works that ought to be in the public domain; so that they can effectively own culture.
    - ralferoo 2mo ago
basilikum 2mo ago
> For instance, if copyright was just 20 years after something was created, a painting might have been created 20 years ago but never made public until later in their life, and so copyright has expired before they've ever tried to sell it. Copyright should last ten years, at the very maximum 15 years, after publication. This is an entirely solved problem. The solution is just not implemented because in reality copyright is not about incentivizing authors at all. > Maybe there was only public interest in their work later on in their career and suddenly their early work was now considered valuable. Sucks for them. No reason to grant indefinite copyright. > Or if it's 20 years from the date something was made available to the public, then you could reset the clock by creating a slightly different work No, you couldn't. Why would a derivative work prolong the copyright term of the original? The derivative work would have copyright on its own if it had significant additional creative input (so not just spelling corrections). The original is entirely unaffected by this. Derivative works are already a settled concept in copyright. Nothing about them is new or special.
- ralferoo 2mo ago
  As for the last point, I was contrasting "a painting might have been created 20 years ago but never made public until later in their life" and "from the date something was made available to the public" - i.e. does copyright start when something was first created or when it was first made publicly available? In that case, whilst it might be a derivative work, the original would be unavailable to be copied so it would effectively reset the copyright clock. This is effectively a parallel to the case in UK copyright law where an unreleased recording is covered by copyright for 50 years, and if released at any point in those 50 years gets covered for 70 years from the date of release. > Copyright should last ten years, at the very maximum 15 years, after publication. This is an entirely solved problem. It is the complete opposite to an entirely solved problem, because not everybody agrees how long copyright should last, or even if it should exist at all. You might think your solution would make it a solved problem, many others would disagree. Governments similarly believe that the copyright term lengths they have enacted into law are correct, and that the lengths enacted by other countries are wrong, and maybe people (including yourself) disagree with them. As a consumer, I'd prefer copyright terms to be shorter in general, but as someone who's spent around half their career working in games development, and on the kind of games that need a team of 100+ and so need heavy investment and protection in order to recoup that investment, I also support the idea of copyright in general. While my specific area probably doesn't need copyright terms longer than a decade, I can also see that in other areas these lengths are justified - I still listen to older bands, and see it as entirely fair that e.g. Pink Floyd should still receive money if I want to buy an album they made 60 years ago. Similarly, if I want to watch Wizard of Oz, it's absolutely fair that MGM should still get a chunk of royalties from a streaming platform. That money is going to fund the films of the future.

pydry 2mo ago

>Limiting by total income disincentivises companies to spend heavily to produce e.g. films, plays, video games, whatever. I'm not sure we'd be any worse off as a society if, say, Disney wasnt incentivized to make 34 marvel movies. There are things where we desperately need large scale investment (e.g. manufacturing, green energy) but big budget artistic productions is probably one area of the economy where we could easily live without it.

ralferoo 2mo ago
Would be be worse off as a society without Snow White, Pinocchio, Bambi, Jungle Book, Mary Poppins, the Herbie series, and any of the many more recent films? If anything these films are a great example of why copyright terms should be long, because those films are still culturally relevant today, 60-80 years after they're made, and that people are still willing to pay for them over newer films shows that the creators and their families still deserve to continue to get royalties from them. Sure, film companies often make a quick buck from sequels, but it's interesting that copyright on characters is distinct from copyright on works. If anything it's surprising that you're arguing something other than the usual issue that's brought up around Disney, which is that their older works frequently took stories that were specifically out of copyright, and then they vigourously pursued copyright on the films they made from those stories.
- basilikum 2mo ago
  > If anything these films are a great example of why copyright terms should be long, because those films are still culturally relevant today, 60-80 years after they're made, and that people are still willing to pay for them over newer films shows that the creators and their families still deserve to continue to get royalties from them. The people who get most of the money from these movies are the shareholders of huge media conglomerates, which is the only reason why these works still have copyright. Authors and their families are purely a pretense for this. The point of people deserving a monopoly over aspects of culture long after they created a work and deserving to censor the works of others who do not pay royalties to their monopoly – this is what copyright means – is weird. It sounds good as long as you read it as a feel good story without thinking about it, but it is ultimately moot. No, they do not. The argument is bizarre. We do not grant this privilege to anyone else. Everyone else gets paid for their work when they do it. They can even invest the money like everyone else. When you've hit it big with a creative work you are set for life. But when I build a house for you, I get paid once. I cannot get back to you 20 years later and demand payment once again because you are still living in it and benefiting from my work. It would be absurd. Obviously in creative works there is usually uncertainty. Most works are not created in exchange to a previously agreed commission by one party, but are created as an advance investment and then offered to the general public. We have to grant copyright to these works for a limited time so the author has the chance of making money from their work. There is no reason to extent this copyright beyond this limited time period and to grant authors such a special privilege. On the contrary there is all the reason not to do this as copyright is ultimately censorship and must be limited to the utmost minimal necessity. > Disney, which is that their older works frequently took stories that were specifically out of copyright, and then they vigourously pursued copyright on the films they made from those stories. That is perfectly fine. No one in their right mind would argue against that. The evil of disney is not creating derivative works of works in the public domain, but after the fact lobbying to retroactively extend copyright forever so that no work will ever fall into the public domain again; so that no one will be able to do the same as them – creating derivatives to decades old works that ought to be in the public domain; so that they can effectively own culture.
  - ralferoo 2mo ago

basilikum 2mo ago

> For instance, if copyright was just 20 years after something was created, a painting might have been created 20 years ago but never made public until later in their life, and so copyright has expired before they've ever tried to sell it. Copyright should last ten years, at the very maximum 15 years, after publication. This is an entirely solved problem. The solution is just not implemented because in reality copyright is not about incentivizing authors at all. > Maybe there was only public interest in their work later on in their career and suddenly their early work was now considered valuable. Sucks for them. No reason to grant indefinite copyright. > Or if it's 20 years from the date something was made available to the public, then you could reset the clock by creating a slightly different work No, you couldn't. Why would a derivative work prolong the copyright term of the original? The derivative work would have copyright on its own if it had significant additional creative input (so not just spelling corrections). The original is entirely unaffected by this. Derivative works are already a settled concept in copyright. Nothing about them is new or special.

ralferoo 2mo ago
As for the last point, I was contrasting "a painting might have been created 20 years ago but never made public until later in their life" and "from the date something was made available to the public" - i.e. does copyright start when something was first created or when it was first made publicly available? In that case, whilst it might be a derivative work, the original would be unavailable to be copied so it would effectively reset the copyright clock. This is effectively a parallel to the case in UK copyright law where an unreleased recording is covered by copyright for 50 years, and if released at any point in those 50 years gets covered for 70 years from the date of release. > Copyright should last ten years, at the very maximum 15 years, after publication. This is an entirely solved problem. It is the complete opposite to an entirely solved problem, because not everybody agrees how long copyright should last, or even if it should exist at all. You might think your solution would make it a solved problem, many others would disagree. Governments similarly believe that the copyright term lengths they have enacted into law are correct, and that the lengths enacted by other countries are wrong, and maybe people (including yourself) disagree with them. As a consumer, I'd prefer copyright terms to be shorter in general, but as someone who's spent around half their career working in games development, and on the kind of games that need a team of 100+ and so need heavy investment and protection in order to recoup that investment, I also support the idea of copyright in general. While my specific area probably doesn't need copyright terms longer than a decade, I can also see that in other areas these lengths are justified - I still listen to older bands, and see it as entirely fair that e.g. Pink Floyd should still receive money if I want to buy an album they made 60 years ago. Similarly, if I want to watch Wizard of Oz, it's absolutely fair that MGM should still get a chunk of royalties from a streaming platform. That money is going to fund the films of the future.