(R)Evolution in the Information Industry: What the Information Industry Can Learn from the Music Industry

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(R)Evolution in the Information Industry: What the Information Industry Can Learn from the Music Industry Purdue University Purdue e-Pubs Charleston Library Conference (R)Evolution in the Information Industry: What the Information Industry Can Learn from the Music Industry Amy Elliott Boise State University, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/charleston An indexed, print copy of the Proceedings is also available for purchase at: http://www.thepress.purdue.edu/series/charleston. You may also be interested in the new series, Charleston Insights in Library, Archival, and Information Sciences. Find out more at: http://www.thepress.purdue.edu/series/charleston-insights-library-archival- and-information-sciences. Amy Elliott, "(R)Evolution in the Information Industry: What the Information Industry Can Learn from the Music Industry" (2009). Proceedings of the Charleston Library Conference. http://dx.doi.org/10.5703/1288284314791 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. 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The information industry certainly includes the publishing industry, but it also includes database vendors, libraries and universities. It also necessarily contains some elements of the technology industry. It may be useful, however, to note that this paper concerns itself primarily with the scholarly communication sector, scholarly journals in particular, of the information industry. However, this sector surely is not isolated in the issues it faces. Many of the technological challenges it faces also affect the larger publishing and information industries, hence the inclusive terminology. 2 Technology has been around forever. Books were once a technology, an improvement over scrolls. However, for this paper technology primarily means digital technologies, those technologies surrounding computers and the ŝŶƚĞƌŶĞƚ͕ŽƌǁŚĂƚŚƌŝƐŶĚĞƌƐŽŶĐĂůůƐƚŚĞ͞ďŝƚƐĞĐŽŶŽŵLJ͟ŝŶŚŝƐƐĞĐŽŶĚŬFree : The Future of a Radical Price (New York: Hyperion, 2009). 3 This is not entirely true, but they may be considered the original two. It can be argued that all of the industries protected by copyright (art, architecture, drama, dance, music, movies, videos, works of literature, and in this new ƚĞĐŚŶŽůŽŐŝĐĂůĂŐĞ͞ĐŽĚĞ͟ͿŵĂŬĞĂƉƌŽĨŝƚďLJŽďƚĂŝŶŝŶŐƚŚĞƌŝŐŚƚƐƚŽŽƚŚĞƌƐ͛ŝŶƚĞůůĞĐƚƵĂůƉƌŽƉĞƌƚLJ͘,ŽǁĞǀĞƌ͕ŵŽƐƚ movies start as either a script or a story board or both and so I would argue that they begin as works of literature and/or art. Music derived its copyright from writing. Protecting copies of written works was the origin of copyright. Monks had been making copies by hand from manuscripts for years, but it was the invention of the printing press that served as the impetus for creating a law regarding making copies of intellectual works. For more on the history of copyright see Alex Guindon, "A Very Short History of Copyright: Adopting the User's Perspective," The Canadian Journal of Information and Library Science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t is worth noting that copyright does not protect ideas, but the expression of them. For a good review of copyright law see chapter five of Heather Morrison, Scholarly Communications for Librarians (Oxford: Chandos, 2009). 5 This is grossly over simplified for the purposes of illustration and discussion
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