Download Arts, Inc.: How Greed and Neglect Have Destroyed Our by Bill Ivey PDF

By Bill Ivey

In this impassioned and persuasive ebook, invoice Ivey, the previous chairman of the nationwide Endowment for the humanities, assesses the present country of the humanities in the United States and unearths reason for alarm. while he celebrates our ever-emerging tradition and how it enriches our lives the following at domestic whereas spreading the dream of democracy worldwide, he issues to a looming hindrance. The increasing footprint of copyright, an unconstrained arts market, and a central authority unwilling to interact tradition as a major area for public coverage have come jointly to undermine paintings, artistry, and cultural heritage—the expressive lifetime of the USA. In 8 succinct chapters, Ivey blends own memoir, coverage research, and deeply held convictions to discover and outline a coordinated imaginative and prescient for artwork, tradition, and expression in American life.

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The limited term of copyright is also important, because the intent of the framers was not to institute a variation of property rights—like rights to a tract of land—that would secure ownership in artworks and inventions forever, but rather to encourage creativity. So once the term of copyright ends, work enters the “public domain” and can be used and reconfigured by anyone without permission—a steady flow of old art into new that, presumably, promotes progress. When our cultural industries were created, and for three-quarters of the twentieth century, that “limited” time was twenty-eight years, renewable for a second term of the same duration.

Are market forces enough, first, to preserve heritage and, second, to make it available to enrich the expressive lives of citizens? heritage 37 Let’s look at Corbis again. As already indicated, the company controls 17 million images in its Bettmann Archive alone, with total holdings having surpassed the 100 million mark. Of course, not all these are cultural treasures; as with any massive historical collection, a significant percentage of the whole probably possesses little or no lasting historical value.

Is part of a global archive of more than 100 million images exploited for profit by a super-mogul of the computer software industry? Should the public see iconic images from our nation’s past only if an author, magazine publisher, or television producer pays a price set by the marketplace and enforced by companies that control copyrighted heritage? In a hundred-year-old arts system defined by an unfettered marketplace, tension between culture as asset and culture as heritage is inevitable. But when a company makes available only what it thinks will sell and then demands the maximum payment possible, the public interest is not well served.

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