Conceptual map of FOSS (Free and Open Source Software)
Society and culture
Open source culture is the creative practice of appropriation and free sharing of found and created content. Examples include collage, found footage film, music, and appropriation art. Open source culture is one in which fixations, works entitled to copyright protection, are made generally available. Participants in the culture can modify those products and redistribute them back into the community or other organizations.
The rise of open-source culture in the 20th century resulted from a growing tension between creative practices that involve appropriation, and therefore require access to content that is often copyrighted, and increasingly restrictive intellectual property laws and policies governing access to copyrighted content. The two main ways in which intellectual property laws became more restrictive in the 20th century were extensions to the term of copyright (particularly in the United States) and penalties, such as those articulated in the Digital Millennium Copyright Act (DMCA), placed on attempts to circumvent anti-piracy technologies.
Although artistic appropriation is often permitted under fair use doctrines, the complexity and ambiguity of these doctrines creates an atmosphere of uncertainty among cultural practitioners. Also, the protective actions of copyright owners create what some call a "chilling effect" among cultural practitioners.
In the late 20th century, cultural practitioners began to adopt the intellectual property licensing techniques of free software and open-source software to make their work more freely available to others, including the Creative Commons.
The idea of an "open source" culture runs parallel to "Free Culture," but is substantively different. Free culture is a term derived from the free software movement, and in contrast to that vision of culture, proponents of Open Source Culture (OSC) maintain that some intellectual property law needs to exist to protect cultural producers. Yet they propose a more nuanced position than corporations have traditionally sought. Instead of seeing intellectual property law as an expression of instrumental rules intended to uphold either natural rights or desirable outcomes, an argument for OSC takes into account diverse goods (as in "the Good life") and ends.
One way of achieving the goal of making the fixations of cultural work generally available is to maximally utilize technology and digital media. In keeping with Moore's law's prediction about processors, the cost of digital media and storage plummeted in the late 20th Century. Consequently, the marginal cost of digitally duplicating anything capable of being transmitted via digital media dropped to near zero. Combined with an explosive growth in personal computer and technology ownership, the result is an increase in general population's access to digital media. This phenomenon facilitated growth in open source culture because it allowed for rapid and inexpensive duplication and distribution of culture. Where the access to the majority of culture produced prior to the advent of digital media was limited by other constraints of proprietary and potentially "open" mediums, digital media is the latest technology with the potential to increase access to cultural products. Artists and users who choose to distribute their work digitally face none of the physical limitations that traditional cultural producers have been typically faced with. Accordingly, the audience of an open source culture faces little physical cost in acquiring digital media.
Open source culture precedes Richard Stallman's codification of the concept with the creation of the Free Software Foundation. As the public began to communicate through Bulletin Board Systems (BBS) like FidoNet, places like Sourcery Systems BBS were dedicated to providing source code to Public Domain, Shareware and Freeware programs.
Essentially born out of a desire for increased general access to digital media, the Internet is open source culture's most valuable asset. It is questionable whether the goals of an open source culture could be achieved without the Internet. The global network not only fosters an environment where culture can be generally accessible, but also allows for easy and inexpensive redistribution of culture back into various communities. Some reasons for this are as follows.
First, the Internet allows even greater access to inexpensive digital media and storage. Instead of users being limited to their own facilities and resources, they are granted access to a vast network of facilities and resources, some free. Sites such as Archive.org offer up free web space for anyone willing to license their work under a Creative Commons license. The resulting cultural product is then available to download free (generally accessible) to anyone with an Internet connection.
Second, users are granted unprecedented access to each other. Older analog technologies such as the telephone or television have limitations on the kind of interaction users can have. In the case of television there is little, if any interaction between users participating on the network. And in the case of the telephone, users rarely interact with any more than a couple of their known peers. On the Internet, however, users have the potential to access and meet millions of their peers. This aspect of the Internet facilitates the modification of culture as users are able to collaborate and communicate with each other across international and cultural boundaries. The speed in which digital media travels on the Internet in turn facilitates the redistribution of culture.
Through various technologies such as peer-to-peer networks and blogs, cultural producers can take advantage of vast social networks in order to distribute their products. As opposed to traditional media distribution, redistributing digital media on the Internet can be virtually costless. Technologies such as BitTorrent and Gnutella take advantage of various characteristics of the Internet protocol (TCP/IP) in an attempt to totally decentralize file distribution.
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Open source culture is the creative practice of appropriation and free sharing of found and created content. Examples include collage, found footage film, music, and appropriation art. Open source culture is one in which fixations, works entitled to copyright protection, are made generally available. Participants in the culture can modify those products and redistribute them back into the community or other organizations.
The rise of open-source culture in the 20th century resulted from a growing tension between creative practices that involve appropriation, and therefore require access to content that is often copyrighted, and increasingly restrictive intellectual property laws and policies governing access to copyrighted content. The two main ways in which intellectual property laws became more restrictive in the 20th century were extensions to the term of copyright (particularly in the United States) and penalties, such as those articulated in the Digital Millennium Copyright Act (DMCA), placed on attempts to circumvent anti-piracy technologies.
Although artistic appropriation is often permitted under fair use doctrines, the complexity and ambiguity of these doctrines creates an atmosphere of uncertainty among cultural practitioners. Also, the protective actions of copyright owners create what some call a "chilling effect" among cultural practitioners.
In the late 20th century, cultural practitioners began to adopt the intellectual property licensing techniques of free software and open-source software to make their work more freely available to others, including the Creative Commons.
The idea of an "open source" culture runs parallel to "Free Culture," but is substantively different. Free culture is a term derived from the free software movement, and in contrast to that vision of culture, proponents of Open Source Culture (OSC) maintain that some intellectual property law needs to exist to protect cultural producers. Yet they propose a more nuanced position than corporations have traditionally sought. Instead of seeing intellectual property law as an expression of instrumental rules intended to uphold either natural rights or desirable outcomes, an argument for OSC takes into account diverse goods (as in "the Good life") and ends.
One way of achieving the goal of making the fixations of cultural work generally available is to maximally utilize technology and digital media. In keeping with Moore's law's prediction about processors, the cost of digital media and storage plummeted in the late 20th Century. Consequently, the marginal cost of digitally duplicating anything capable of being transmitted via digital media dropped to near zero. Combined with an explosive growth in personal computer and technology ownership, the result is an increase in general population's access to digital media. This phenomenon facilitated growth in open source culture because it allowed for rapid and inexpensive duplication and distribution of culture. Where the access to the majority of culture produced prior to the advent of digital media was limited by other constraints of proprietary and potentially "open" mediums, digital media is the latest technology with the potential to increase access to cultural products. Artists and users who choose to distribute their work digitally face none of the physical limitations that traditional cultural producers have been typically faced with. Accordingly, the audience of an open source culture faces little physical cost in acquiring digital media.
Open source culture precedes Richard Stallman's codification of the concept with the creation of the Free Software Foundation. As the public began to communicate through Bulletin Board Systems (BBS) like FidoNet, places like Sourcery Systems BBS were dedicated to providing source code to Public Domain, Shareware and Freeware programs.
Essentially born out of a desire for increased general access to digital media, the Internet is open source culture's most valuable asset. It is questionable whether the goals of an open source culture could be achieved without the Internet. The global network not only fosters an environment where culture can be generally accessible, but also allows for easy and inexpensive redistribution of culture back into various communities. Some reasons for this are as follows.
First, the Internet allows even greater access to inexpensive digital media and storage. Instead of users being limited to their own facilities and resources, they are granted access to a vast network of facilities and resources, some free. Sites such as Archive.org offer up free web space for anyone willing to license their work under a Creative Commons license. The resulting cultural product is then available to download free (generally accessible) to anyone with an Internet connection.
Second, users are granted unprecedented access to each other. Older analog technologies such as the telephone or television have limitations on the kind of interaction users can have. In the case of television there is little, if any interaction between users participating on the network. And in the case of the telephone, users rarely interact with any more than a couple of their known peers. On the Internet, however, users have the potential to access and meet millions of their peers. This aspect of the Internet facilitates the modification of culture as users are able to collaborate and communicate with each other across international and cultural boundaries. The speed in which digital media travels on the Internet in turn facilitates the redistribution of culture.
Through various technologies such as peer-to-peer networks and blogs, cultural producers can take advantage of vast social networks in order to distribute their products. As opposed to traditional media distribution, redistributing digital media on the Internet can be virtually costless. Technologies such as BitTorrent and Gnutella take advantage of various characteristics of the Internet protocol (TCP/IP) in an attempt to totally decentralize file distribution.
