Free-culture movement

In the late 1960s, Stewart Brand founded the Whole Earth Catalog and argued that technology could be liberating rather than oppressing.[8] He coined the slogan "Information wants to be free" in 1984[9] against limiting access to information by governmental control, preventing a public domain of information.[10]

In 1998, the United States Congress passed the Sonny Bono Copyright Term Extension Act, which President Clinton signed into law. The legislation extended copyright protections for twenty additional years, resulting in a total guaranteed copyright term of seventy years after a creator's death. The bill was heavily lobbied by music and film corporations like Disney, and dubbed as the Mickey Mouse Protection Act. Lawrence Lessig claims copyright is an obstacle to cultural production, knowledge sharing and technological innovation, and that private interests – as opposed to public good – determine law.[11] He travelled the country in 1998, giving as many as a hundred speeches a year at college campuses, and sparked the movement. It led to the foundation of the first chapter of the Students for Free Culture at Swarthmore College.

In 1999, Lessig challenged the Bono Act, taking the case to the US Supreme Court. Despite his firm belief in victory, citing the Constitution's plain language about "limited" copyright terms, Lessig only gained two dissenting votes: from Justices Stephen Breyer and John Paul Stevens.

In 2001, Lessig initiated Creative Commons, an alternative "some rights reserved" licensing system to the default "all rights reserved" copyright system. Lessig focuses on a fair balance between the interest of the public to use and participate into released creative works and the need of protection for a creator's work, which still enables a "read-write" remix culture.[6]

The term "free culture" was originally used since 2003 during the World Summit on Information Society[12] to present the first free license for artistic creation at large, initiated by the Copyleft attitude team in France since 2001 (named free art license). It was then developed in Lawrence Lessig's book Free Culture in 2004.[13]

In August 2003 the Open Content Project, a 1998 Creative Commons precursor by David A. Wiley, announced the Creative Commons as successor project and Wiley joined as director.[14][15]

In 2005/2006 within the free-culture movement, Creative Commons was criticized by Erik Möller[16] and Benjamin Mako Hill for lacking minimum standards for freedom.[17] Following this, the "Definition of Free Cultural Works" was created as collaborative work of many, including Erik Möller, Lawrence Lessig, Benjamin Mako Hill and Richard Stallman.[18] In February 2008, several Creative Commons licenses were "approved for free cultural works", namely the CC BY and CC BY-SA (later also the CC0).[19] Creative Commons licenses with restrictions on commercial use or derivative works were not approved.

In October 2014 the Open Knowledge Foundation described their definition of "open", for open content and open knowledge, as synonymous to the definition of "free" in the "Definition of Free Cultural Works", noting that both are rooted in the Open Source Definition and Free Software Definition.[20] Therefore, the same three creative commons licenses are recommended for open content and free content, CC BY, CC BY-SA, and CC0.[21][22][23] The Open Knowledge foundation additionally defined three specialized licenses for data and databases, previously unavailable: the Open Data Commons Public Domain Dedication and License (PDDL), the Open Data Commons Attribution License (ODC-BY) and the Open Data Commons Open Database License (ODbL).

Initially, Free Software Foundation founder Richard Stallman did not see the importance of free works beyond software.[42] For instance for manuals and books Stallman stated in the 1990s:

As a general rule, I don't believe that it is essential for people to have permission to modify all sorts of articles and books. The issues for writings are not necessarily the same as those for software. For example, I don't think you or I are obliged to give permission to modify articles like this one, which describe our actions and our views.

Similarly, in 1999 Stallman said that he sees "no social imperative for free hardware designs like the imperative for free software".[43] Other authors, such as Joshua Pearce, have argued that there is an ethical imperative for open-source hardware, specifically with respect to open-source-appropriate technology for sustainable development.[44]

Later, Stallman changed his position slightly and advocated for free sharing of information in 2009.[45] But, in 2011 Stallman commented on the Megaupload founder's arrest, "I think all works meant for practical uses must be free, but that does not apply to music, since music is meant for appreciation, not for practical use."[46] In a follow-up Stallman differentiated three classes: works of practical use should be free, works representing points of view should be shareable but not changeable and works of art or entertainment should be copyrighted (but only for 10 years).[47] In an essay in 2012 Stallman argued that video games as software should be free but not their artwork.[48] In 2015 Stallman advocated for free hardware designs.[49]

Vocal criticism against the free-culture movement comes from copyright proponents.

Prominent technologist and musician Jaron Lanier discusses this perspective of free culture in his 2010 book You Are Not a Gadget. Lanier's concerns include the depersonalization of crowd-sourced anonymous media (such as Wikipedia) and the economic dignity of middle-class creative artists.

Andrew Keen, a critic of Web 2.0, criticizes some of the free culture ideas in his book, Cult of the Amateur, describing Lessig as an "intellectual property communist".[50]

The decline of the news media industry's market share is blamed on free culture but scholars like Clay Shirky claim that the market itself, not free culture, is what is killing the journalism industry.[13]

The free art movement is distinct from the free culture movement as the artist retains full copyright for the work. The free art movement is the practice of artists leaving art in public places for the public to remove and keep. The artwork is usually tagged with a notice stating it is free art, and either with the artist's name or left anonymously. The movement was reinvigorated by British street art practitioner My Dog Sighs coining the term "Free Art Fridays".[51] Clues to the location of artworks are sometimes left on social media to combine treasure hunting with art.[52]