11 > “I'm not afraid of anyone of you. And if you'll come to Paul Street, to take our ground away, we'll be on the spot! And don't you forget that either! I'll show you that with ten of us against your ten, you'll hear a different sort of talk from what I'm giving you now. It was easy enough to get the better of me!...”
13 Ferenc Molnar, The Paul Street Boys
19 Public policies are aimed at building a sense of community,
20 which is to be reproduced and expressed in a
21 symbolic system (culture). At the same time the state
22 does not intervene in the market circulation of culture,
23 which led to the convergence of services and resources
24 in the hands of a few major dealers.
27 1. Society - structure and shared values
28 ----------------------------------------
30 In this scenario the state believes that the community
31 is the best thing that could happen to its citizens and
32 therefore it is worth investing. Growing from a tradition
33 of small democracies, whether mercantile republics or
34 free peasants, it cultivates respect for the solutions developed together and the synergy effect, which translates into social and economic development resulting
37 Citizens decide on the shape of park in their town and
38 how to pave the market square. They vote massively
39 in elections, for absenteeism at the ballot box will be
40 fined. Individualism and apathy here are rare and frowned upon. From kindergarten all learn that only working together you can achieve something.
42 People avoid controversial actions that go beyond the
43 social norm for fear of condemnation by the community and also punishment by the state - loosing a benefit or certain privileges, or the degradation to the
44 category of “asocial margin.”
46 A successful life means engaging in the life of one’s community and contributing to the collective existence. The participation in public life, also at the national level - whether as a politician or as a clerk, is a
47 respected and willingly chosen career path. Citizens
48 generally identify themselves with the state - what is
49 good for the state is considered good for the citizens.
50 Patriotism has also an economic dimension: if you are
51 working, you multiply GDP. At the same time the state
52 is trying not to interfere in the market.
54 The second important career path is to work in a corporation. Here one earns more money, but in spite of
55 envy caused by such a status, in public perception it
56 ranks a notch lower than working in the public sector.
58 Everyone is watching, reading and listening to the same
59 thing, because they know (from school or authorities),
60 what is good and what is bad, what is high and what
61 is low. Even if it concerns an amateur production. The
62 consumption of culture is passive and frequent, but the
63 cultural competence of the society is high. The state facilitates actively the participation in culture - universal
64 access to culture helps to build a value system and a
65 sense of community - for some it will build a concert
66 hall, for others it will organize a festival with wreaths.
67 Social differences are reduced to the level of aesthetics.
69 There may be the state ideological emphasis on consumers of culture, who - living in the cult of canon -
70 hardly receive disturbing signals.
75 2. Economics of culture and the creative sector
76 -----------------------------------------------
78 The public sector is the largest employer, in terms of
79 administration, strategic industries, and science and innovation. The state also cares about the development
80 of private enterprises, organizing airbags for their employees in the event of a crisis (it supports them during
81 the protracted unemployment, and public works absorb
82 those who have lost their jobs permanently as a result of
83 the replacement of their jobs by artificial intelligence).
85 The state is also - next to media companies - a major
86 client in the creative sector. It orders music, novels,
87 sponsored films, all this in order to build social capital
88 and skills needed in the labour market, and strengthen the sense of community. Film adaptations of a
89 patriotic novel Stones on the Rampart are re-made
92 The state distributes free tickets for children, youths and
93 the poor, it also enriches the canon of open resources on
94 the Web. But commercial companies from the culture
95 sector are thriving too; there is an unwritten agreement
96 that there will be no competition, only the complementation offer: commercial productions are
97 read/viewed/commented on by crowds, the problem of monetizing
98 the “long tail” being non-existent.
100 The huge library of open public resources is also used
101 by media companies to their financial advantage.
104 3. Situation of artists of critical or “high” art
105 -------------------------------------------------
107 Artists are surrounded by public support. Of course, not
108 everyone but the “caste” of those selected is quite large
109 and provides them the means of artistic activity. The
110 artist may receive a salary, scholarship or other forms
111 of state care, with the provided insurance and pension
112 above the minimum. The price to pay for this may be
113 the state’s takeover of copyright, to share content as
114 open resources, in accordance with the principle that
115 a citizen cannot pay a second time for what had already been paid as taxes.
117 The group of authors is stable, but also static. Those at
118 the top of the ladder, the authors of high art, are considered to be a collective national treasure, forming the
119 establishment of arbiters of taste who decide about
120 the good taste and careers of those still climbing on the
121 lower levels. The status of minor artists is also good.
122 There are strong trade unions of creative sector and
123 culture workers, which is associated with the professionalization of creativity. The boundary between an
124 artist and an amateur is therefore very clear.
126 Critical art may be an element of the system, and then
127 it is allowed to some extent, because the state and society think that they need it in order to function properly. In this case critical artists would enjoy respect and
128 gain a suitable status – they could count on help from
129 the state. If this is not allowed, we have to deal with a
130 strong taboo; there may appear such phenomena as
131 self-censorship, internal emigration and allusive art.
132 Then the protest against one myth may accumulate in
133 a confined space, where prohibited music, prohibited
134 conduct and prohibited drugs - everything prohibited
141 The state and local governments ensure a high level of
142 education in public schools, which are well equipped
143 and have highly qualified staff. Pre-primary education
144 is compulsory from the age of three, because the state
145 believes that children should learn working in a group
146 from an early age. The school children have access to
147 modern teaching aids - mobile devices with full access
148 to the network, interactive online and offline courses. It
149 is the result of cooperation between the state and one
150 leading media company - maybe Apple, and maybe one
151 of its successors. All children have been given tablets,
152 they learn through educational applications provided by
153 educational authorities. This does not necessarily mean
154 that the student comes out of this system as a passive
155 performer of commands. With the application you can
156 also learn creativity, but within a specified framework
157 defined already by materials and tools provided.
159 The schools teach neither critical analysis of phenomena nor contesting the existing order. There is no place
160 for exposing stereotypes or cutting into prime factors of
161 recognized truths. The emphasis is more on teamwork
162 and mediation, that is those skills that are most useful
165 Children are not taught challenging the cultural canon,
166 since it is the foundation on which the community relies
167 its postulated values. Instead they get the tools to distinguish high culture from low, because if there is a canon,
168 there must also be something that does not qualify to it.
170 Open educational resources are abundant and readily
171 available. The state funds free e-textbooks in the form
172 of applications running on the hardware of one of selected companies.
175 5. The impact of technology on the consumption of culture
176 ---------------------------------------------------------
178 The passive consumption of culture dominates, which
179 is mainly due to the fact that the tools the majority of
180 society has at its disposal are a closed set of applications. Therefore, it is difficult to find niches and non-mainstream culture, due to the lack of media they
183 Narrowing the use of technology to the products of a
184 few oligopolies means that content filtering is very simplified. It is used by both the business (to gain a complete
185 understanding of customers preferences and getting
186 them the right products) and the state worrying about the integrity of the community. Spying on the network does not raise violent protests, as long as there
187 is no fraud; citizens are willing to donate a portion of
188 their freedom in the name of the common good. Filesharing is illegal.
194 {{ pozycja("authors", 3) }}
196 The copyright law protects authors as those important for building the social
197 capital, respected and valued pillars of the community. Monetization of their
198 work is extended in time - through an extensive system of royalties - and the
199 term of copyright relatively long. The role of collective management organizations which coordinate the flow of fees between users or intermediaries
200 and proffesional authors themselves is important.
202 Authors also have a large control over how others will use their works: only
203 the education of future generations is the primary goal that justifies the depletion of the potential artist’s profit. Therefore, “fair use” is extended primarily for educational purposes, there are also programs of redemption of
204 works that best serve these purposes into the public domain. This is done,
205 however, for the benefit of artists whose fees for the transfer of rights are
206 much higher than those for licensing.
209 {{ pozycja("users", 2) }}
211 They have at their disposal a range of educational resources, free tickets to
212 cultural events, super-equipped libraries, rich pay deals. If, however, they may
213 freely use works in the public domain and for educational purposes, a well-developed system of control blocks their potential as prosumers, when it
214 comes to commercial content. Non-market sharing of culture has been relegated to the online underground - small, because the demand for such services is not large, and in addition it has been limited by the system of control.
217 {{ pozycja("intermediaries", 3) }}
219 They control both the commercial market of circulation of culture and the
220 public procurement. For this reason, they want the copyright infringement
221 prosecuted, and the state agrees to this request also for the artists’ sake, with
222 which companies share the revenues. At hand is also the long duration of copyright and rich resources in the public domain that can be commercialized
223 in the derivative works.
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