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Cake day: May 6th, 2024

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  • Responses ITT have focused on legal and technical roadblocks. But if you can imagine a world where cultural production is even slightly less consolidated and corporate, where we start doing more of it for ourselves and our social circles, a cultural roadblock starts to emerge. How do I copy illicitly if the output is specialized and uniquely calibrated to the personal tastes of a hyper-small audience? Another way of asking the question might be: if mass markets don’t mean much anymore and it’s easy to make and propagate things ourselves, does piracy still exist? Or do we recognize that copying is a fundamental mechanism of culture, and there’s no longer any point in encumbering it for the sake of the profit motive?

    I think the remarks of Denuvo hardly mattering for Ubisoft titles because they’re shitty games to start with, or jokes about Disney succeeding in making a film that will never get pirated (Snow White), start to get at this question

















  • Nothing surpsises me about a single small sectional interest (football copyright) being able to wreak such havoc and inequity on a whole nation. Italian standards of governance are a joke.

    One of the best YT lectures on censorship I’ve come across is Ada Palmer’s “Why We Censor: from the Inquisition to the Internet”. It lays out the universal nature of such regimes, including their slapdash conception and setup, and the arbitrary and indiscriminate targeting they engage in thanks to how co-optable they are.