Read-Only Culture Vs. Read/Write Culture
Lessig outlines two cultures - the read-only culture (RO) and the read/write culture (RW). The RO culture is the culture we consume more or less passively. The information or product is provided to us by a 'professional' source, the content industry, that possesses an authority on that particular product/information. Analog technologies inherently supported RO culture's business model of production and distribution and limited the role of the consumer to just that, 'consuming'.
Digital technology, however, does not have the 'natural' constraints of the analog that preceded it."What before was both impossible and illegal is now just illegal"(38). Steve Jobs was the first to see potential in this new market made possible by digital technology. RO culture had to be recoded in order to compete with the "free" distribution made possible by the Internet. iTunes Music store was proof of this. While it provided digital music it was protected by a Digital Rights Management (DRM)code from re-distribution. Lessig uses this key example to show that it is possible to achieve a business model which balances access and control and is equally attractive to both the consumers and the creators. In addition, digital technologies have changed the way we think about 'access'. Today most of us would never structure our day around a particular program because we know that it is most likely available online - even if not necessarily free of charge. Lessig insists, using Amazon as his premiere example, that the future of entertainment and advertising lies in accumulating information about a consumer and tailoring the product to their preferences.
As opposed to RO culture, Read/Write culture has a reciprocal relationship between the producer and the consumer. Taking works, such as songs, and appropriating them in private circles is exemplary of RW culture, which was considered to be the 'popular' culture before the advent of reproduction technologies. The technologies and copyright laws that soon followed, however, changed the dynamics of popular culture. As it became professionalized people were taught to defer production to the professionals.
Lessig posits that digital technologies provide the tools for reviving RW culture and democratizing production. He uses blogs to explain the three layers of this democratization. Blogs have redefined our relationship to the content industry as they allowed access to non-professional content. The 'comments' feature that soon followed provided a space for readers to have a dialogue with the amateur contributors. 'Tagging' of the blogs by users based on the content provided the necessary layer for users to filter the sea of content according to their interest. The third layer added bots that analyzed the relationship between various websites by counting the clicks between them and, thus, organizing a database of preferences. The three layers working together established an "ecosystem of reputation"(61) that served to guide users through the blogosphere. Lessig uses the blog model to demonstrate a wider conclusion - while there is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW culture and the 'ecosystem of reputation' provides a space for many talented voices to be heard that was not available in the pre-digital RO model.
Read more about this topic: Remix (book)
Famous quotes containing the words culture, read and/or write:
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“This is the essential distinction—even opposition—between the painting and the film: the painting is composed subjectively, the film objectively. However highly we rate the function of the scenario writer—in actual practice it is rated very low—we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.”
—Sir Herbert Read (1893–1968)
“A petty reason perhaps why novelists more and more try to keep a distance from journalists is that novelists are trying to write the truth and journalists are trying to write fiction.”
—Graham Greene (1904–1991)