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Пиратство

felipe

Докато четях тази новина за производител на игри, задаващ въпрос “защо” на хората, които ползват пираткси копия на продукта му, прочетох този чудесен коментар на Brian Fu, който отговаря общо на въпроса защо ползвам пиратски продукти на интелектуалния труд:
There is a fundamental, philosophical, problem with the traditional means of distribution: the product is abundant.

Cars are not abundant. It takes a significant expenditure of materials and effort to put one together. When I drive off in one, I cannot simply dupe it and give the dupe to my friend. The laws of physics dictate a level of scarcity to this good, and as such it makes perfect sense to expect to receive money from every person who obtains a car.

The world of “data” follows different laws of physics. Once I have the data in my hot little hands, I can dupe it and give it to my friends at zero direct cost to the producer. There is no deprivation of use nor loss of mineral resources nor expenditure of manpower nor anything of the sort on the part of the original developer when I dupe the game. None. And I can keep duplicating this ad infinitum, at the same cost (of zero). Furthermore, my friends can do the same thing with the copy I gave them…there is no quality loss. Once the good exists, it can instantly exist everywhere. It is “abundant.”

So, since data follows these laws (rather than the laws of physics as they apply to physical goods) people feel like they are being cheated when they are asked to pretend like data follows the laws of physical matter. They feel like they are buying into a game of control that is unfounded in reality and ultimately to their detriment (since they have to pay money for something that doesn't cost anything to produce *at this point* (excluding initial development costs).

I think that is the crux of the issue. We all know the good is abundant, and we all feel like pretending it is not abundant is just silly, and harmful to us (our money is valuable and if we can get games for free then we have optimized our entertainment budget and have more money left over to spend on things like real cars or educations for our kids or what-have-you).

What about the potential sale that we are “stealing” by copying a game? We tend to respond to such a representation of the situation with great cynicism. We feel like the only reason you feel entitled to every single “potential sale” is because of your insistence in everyone pretending that an abundant good is not abundant. We also feel that the dog-eat-dog world of capitalism doesn't guarantee a ROI on any kind of development project, so when you pound your fist in frustration at your inability to monetize your efforts we just say, “so try something else…thats what every other entrepreneur in the world has had to do…what makes you special? If you can't make money making games, do something else, and stop whining.” That is the same answer we get when we complain about being downsized, or having low-paying jobs, or what-have-you…so we are just responding in turn.

Lastly…the age-old mantra that if you can't get money for every copy of a game sold then nobody will produce games. I call BS. Piracy has been alive and well since before the computer games industry even existed…and since long before DRM existed…and the games industry thrived anyway. And it still thrives, despite the continued piracy. Enough people pay for the games (even though they don't have to) that the industry remains profitable. If that model suddenly stops working, alternative models will take its place (subscription-based games and so on). If that doesn't work, and we actually reach a state of utter cultural impoverishment where no games (or music or movies, for that matter) are being produced because nobody can figure out how to make a living doing it (and no hobbiests manage to churn out anything but crap)…which I maintain is an economic impossibility…but if it actually does occur THEN it might make sense to talk about legislation…and there would be a conscious buy-in to the legislation from the masses who are hungry for cultural enrichment. However, this has not happened, and I therefore submit that it makes no sense to try to preemptively pass laws based on the premise that it might happen (given that it is unlikely and that the situation could be remedied after the fact anyway).

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За мърсотията на българския език

felipe

Винаги са ме дразнили чуждиците, особено за думи, които си ги имаме на български. Но да говориш за мърчандайзъри, уъркшопи, шоуруми, пъблик рилейшънс и пърформанс си е някак “по-фашън”. А македонците приеха закон за чистота на македонския език и има солидни глоби. Макар че го правят поради всички неправилни причини, то пак си заслужава уважението. А ние… Ние кога ще ги стигнем македонците?
Ето какво чета днес в “24 часа”:

Конкурс за работен проект за обновяване на Централната гара в София подготвя Националната компания “Железопътна инфраструктура”. Модернизацията ще струва 40 млн. лева.
Парите ще трябва да дойдат от инвеститора, който ще получи право на строеж на 2 билдинга. Работният проект се прави, за да е сигурна компанията собственик, че 40-те милиона действително ще бъдат вложени в гарата и че ще се изпълни точно това, което тя иска.
Очаква се конкурсът да бъде обявен до края на този месец. В края на годината пък ще бъде обявен търг за учредяване право на строеж за 21-етажния билдинг и за другата 8-етажна сграда, както и за паркинга, които ще бъдат на земи на железопътната инфраструктура. Освен това ще се прави топла връзка от чакалнята на гарата към новопростроените сгради.
Ще спечели този, който освен парите за гарата даде и най-голям процент обезщетение във вид на застроени площи на собственика на Централната гара. Другият критерий е инвеститорът да доведе със себе си и финансова институция, която да гарантира вложенията.
В края на миналата година бяха избрани пет проекта за реконструкцията на гарата. Тогава от министерството на транспорта обявиха, че ще ги купят всички и ще комбинират в един нов проект различни части от тях.
Един от избраните проекти беше на “Архитектоника студио”, в чиято управа е Калин Диков, брат на главния архитект на София Петър Диков.

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