Page:Culture.vs.Copyright 01.pdf/106

 Authoright This is when a work of art is free to use without restriction, and individual authors and publishers have the universal right to attribution. Such a law does not yet exist, although its partial and twisted implementations, like public domain, have occurred.

Method of the Research It became clear in my previous deliberations and discussions with the students that the nature of creativity is the same in different areas of human activity. Based on that conclusion, I presume that neither genre nor kind of art nor historical time nor any other technicality plays a vital role in the reality I am now going to scrutinize. That is, analyzed scenarios, in their essential features, can equally apply to any creator at any time in any area of human activity. I examine fundamental points, such that my analysis would be the same for a music composer or painter or inventor or any other creator in the eighteenth or twenty-first or thirtieth century. Obviously, cases differ in detail, but details and nuances are not my priority here. So, I have chosen a writer in the eighteenth century who is looking for a publisher. His situation is analyzed in the scenarios below.

Self-tuning As stated previously, cultural affairs that are not regulated by a specific law are the subject of this section.

Scenarios Our author has to shop for a publisher. He may never find one, thus end of story. Suppose he finds a publisher. He may conduct preliminary negotiations before having his book published. Suppose his work is accepted. The author will be paid a certain amount of money. If the sum is considerable in the author’s view, there’s a happy ending. If the publisher wants exclusivity, he may pay more and put it