2 title: "Dolina muminków"
11 > “There are those who stay at home and those who go away, and it has always been so. Everyone can choose for himself, but he must choose while there is still time and never change his mind.”
13 Tove Jansson, Moominvalley in November
20 Public policies are aimed at strengthening the community, treating culture as an important tool for building
21 a sense of belonging, social solidarity and social ties.
22 The state is against the formation of monopolies or
23 hubs threatening the market equilibrium. Therefore,
24 there is a wide range of content and service providers.
25 As a rule, they do not combine these two functions.
28 1. Society - structure and shared values
29 ----------------------------------------
31 Community-oriented, but not monopolistic (on the
32 part of the state or corporations) approach creates a
33 balance between the needs of citizens, reason of state
34 and business interests. Citizens are involved in social
35 and political life – they take part in public consultations,
36 and co-create participatory budgets.
38 The state supports civic cultural projects (city theaters,
39 libraries, civic self-educational universities of the third
40 age), giving citizens tools to build the social capital.
42 In this scenario the control and surveillance of the state is limited to a minimum, social life being based on
43 a mutual trust, and officials understanding that they
44 have to limit their supervision. Companies do not have
45 the capabilities to infiltrate their customers for business
46 reasons - the state, defending the interests of citizens,
47 has set clear boundaries and the data are transferred
48 only with the full consent of the client, who receives
49 information about the pros and cons. Data cannot be an
50 object of trade. As a safe solution for the free circulation
51 of culture file-sharing networks have been legalized.
53 Individual liberty and freedom of choice are full, although this may also give rise to dilemmas - if everything
54 is permitted, so is the publication of “Mein Kampf” and
55 the marches of groups glorifying violence.
57 Every life is a success, although the most appreciated
58 are those useful for the community. You need to feel
59 useful for the community. The most appreciated is the
60 work for an NGO or research centre, i.e. the use of one’s
61 talents and skills for the benefit of others. A failed life
64 In this scenario particularly valued are artists, no matter
65 whether amateurs or professionals, because it is believed that every creative member of society is in fact
66 working for the benefit of others.
68 Outsiders, freaks - are respected, because nobody
69 imposes a pattern of behavior beneficial to the community. You can be a member in many different ways.
70 Even the most antisocial ones are not particularly condemned, there is understanding as to the fact that we
71 cannot all be uniformed.
73 Culture is present and at your fingertips. It entertains, teaches, moves, and encourages its recipients to
74 become authors themselves. This is one of the most
75 respected forms of professional fulfillment. Culture
76 strengthens the civil society, teaching critical competence and cooperation in dispersed network projects.
79 2. Economics of culture and the creative sector
80 -----------------------------------------------
82 The state through its anti-monopolistic policies supports
83 real competition, no entity obtaining the advantage over
84 the other and dictating the terms from a monopoly
85 position. It is particularly guarded on the technology
86 market, taking care of principles such as net neutrality, protection of privacy and personal data, generally
87 a balance between the rights of the user and the service provider, and in the case of works under copyright - also authors. The state also strives to provide the
88 minimum necessary public services, including access
89 to open educational resources and cultural resources
90 from public domain. Non-market circulation of culture
91 on the Web, improving competences of individuals and
92 communities, is considered worthy of support.
94 It is difficult to achieve broad commercial success.
95 Blockbusters like The Hobbit are hardly possible because no producer is powerful enough to collect a sufficient
96 amount of funds. There are very few bestsellers, because no publishing house has adequate promotional
97 machinery and vertical content distribution model that
98 would “make” readers/ consumers buy it. The result is
99 that the earnings gap among artists is not large. There
100 are no celebrities scraping everything, and also the difference between professionals and amateurs/ prosumers is blurred.
102 A lot of artists have thus the opportunity to make a
103 living, but the desired competence in this business is
104 also the ability to write applications for grants; you learn that already at school. The state also cares about
105 social security for artists. Artist earns more on their
106 personal participation in some event – a performance, meeting or judging the talent-show - rather than
107 royalties. When it comes to the Internet, the main source of support for the work is a special fee (flat rate)
108 distributed among all whose works are present there.
109 Crowdfunding, i.e. collecting funds needed by the artist to create works directly from future users, is also
110 well developed. For these reasons, strict control over
111 who, how and where uses the published work, it is no
112 longer needed. Free licenses are popular.
114 Commercial culture, consumed passively, does not dominate. In turn, local culture, engaging the community, flourishes - from folk dances through robotics or
117 Navigating the wealth of resources on the Web, people especially appreciate the wise aggregators that
118 can lead them to the resources of interest to them.
119 Popular are also people-routers, who will study, recommend, encourage.
122 3. Situation of artists of critical or “high” art
123 -------------------------------------------------
125 The work conceived as self-development, also having an impact on the community (local, supra-local), deserves respect and high rating regardless of
126 its status. In principle, there is no distinction between “superior” and “inferior” genres. A creator-wizard,
127 “brilliant Narcissus”, convinced of his uniqueness, has
128 no raison d’être, since neither the canon nor popularity will confirm this belief.
130 In turn, the “long tail” is getting longer - there are so
131 many niches that each author will find one and will be
132 able to make a living out of it. Artists have at their disposal an extensive system of state grants, with particular emphasis on non-commercial art. The status of
133 commercial artists may be even lower than the status
134 of those receiving grants.
136 This makes the offer so diverse that everyone can find
137 something for themselves in the multitude of niches.
138 The mainstream practically does not exist, or rather,
139 there are a few mainstreams. This may cause difficulty in reaching the audience, going beyond one’s niche.
140 On the other hand, digital tools make it easy to reach
141 the audience that in the analogue age was hard to find.
143 For each there is a place, and therefore for critical artists, who also have to look for their niches, but do not
144 have a problem with a negative reception from the authorities or business. The right to criticize is considered obvious, and the boundaries of criticism extensive.
145 Critical art can thrive both on the Internet and in local
146 communities. Critical artists have the same chance
147 of getting support from the state, like the others, and
148 perhaps even greater, because they are considered the
149 peak of artistic ladder.
155 In this model, there is room for good, funded public
156 education and supplementary private education. In the
157 latter the greatest emphasis is put on alternative methods of teaching, such as Steiner schools, Montessori
158 schools, democratic schools, and finally home schooling.
160 Schools on the one hand prepare children for life in
161 the community, on the other – encourage them to
162 ask critical questions, undermining the existing order.
163 Emphasis is placed on “soft” competences - the ability to cooperate, but also exercising divergent thinking,
164 which is the ability to create new ideas by analyzing a
165 number of possible solutions and deviation from the
168 The most important role in the educational process
169 is fulfilled by the teacher who does not implement a
170 rigidly fixed canon, but may independently shape the
171 lessons within very flexible recommendations of the
172 education authority. Teachers can benefit from the wealth of open educational resources paid for with public
173 funds and made available on the Web, and besides a
174 very wide range of works covered by copyright - copyright system is in fact designed in such a way that
175 the most important on the list of exceptions is the use
176 for educational purposes. If a teacher has a problem
177 with something, it is the choice: the choice is so rich
178 that it is hard to figure it out and make a decision. And
179 because the sieve of educational materials has great
180 eyes - not to narrow the possibilities - not all are of
181 equally high quality.
184 5. The impact of technology on the consumption of culture
185 ---------------------------------------------------------
187 The state supports cheap technologies, from which
188 every user can benefit. Therefore, it finances technical development in the system of competitions, stipulating social conditions of the product availability (for
189 example, free access to the Web, cheap mobile devices). Technologies are compatible with each other, as
190 far as possible - universal plugs, free and open source
191 software, or widely used protocols allow anyone to create applications that interact with each other.
193 The inventor, who in the garage has constructed an
194 innovative device which could potentially have a great
195 impact on technological development, can count on
196 support from the state (e.g. grants for further studies
197 and the start of production). But she cannot count on
198 a long cover patent of her invention and monopolizing
199 the profits - the state will “release” the innovation in
200 the world, starting from the premise that it serves the
201 good of the community and will bring better results in
202 terms of further development of this innovation.
204 As a result access to culture through new technologies
205 is very wide. Some difficulty is the fact that due to the
206 lack of vertical integration of services, especially older
207 people may have difficulty with the choice. Hence the
208 demand for all kinds of guides: volunteers that help the
209 elderly move in the digital world, or human filters that
210 provide choice in the flood of content.
216 {{ pozycja("authors", 2) }}
218 The source of income of artists, who earn above all from personal appearances
219 and on a flat rate for them on the Internet, has changed. For that reason collecting societies, as redistributors of fees from broadcasters, vanish. Instead
220 there appear associations of authors having the character of social organizations, where artists can use their potential pro-communally. The duration
221 of copyright is reduced - there is a consensus that it is important for cultural,
222 social and economic development. However, even the most popular artists
223 cannot count on millions from royalties, or contracts with large corporations,
224 because such money simply does not circulate in culture. A lot of famous artists make good money, but they can only achieve a celebrity status among
228 {{ pozycja("users", 3) }}
230 Copyright infringement by users is seen as a problem that must be solved by
231 giving them authorized access to content - whether through support of appropriate business models, or by extending the scope of fair use. The latter
232 takes into account the new possibilities for the creation of content offered
233 by new technologies, allowing them, for instance, a broad non-commercial
234 use of remixes of other people’s work. Emphasis is put on respecting moral
235 rights: a good - and observed – practice is to quote the authors, whose works
236 one uses. Free licenses and peer-2-peer networks are popular, because users
237 like and can share content.
240 {{ pozycja("intermediaries", 1) }}
242 They can neither achieve the concentration of capital nor enforce traceability of content. The state chooses other methods to solve the problem of illegal distribution - see above, and no commercial entity is strong enough to
243 carry out such control. It seems more profitable to explore interests of internauts and offer them the services they are looking for in the samizdat.
244 A lot of entities can make money on it, but it is hardly possible to create a
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