> Nothing is free.

Did you not get the whole concept of "digital"? Information most certainly is free. It's getting someone to make the specific types of information you want that costs money.

Of course there are ways of restricting copyright infringement: laws respect for the legal system. A monopoly on the distribution is a powerful thing - it gives you a fairly easy civil case against anybody who violates that monopoly.

What it doesn't do is grant you free enforcement of that monopoly, nor does it guarantee that someone will actually buy your product. Just because you want to make some type of art doesn't mean others actually want it or that it is worth any amount of funding >0.

Also, you seem to be under the impression that money (profit motive) is the only way stuff gets created, which is patently incorrect.

"disempowering"?

Did you watch those talks? (mainly #2) This is about human rights that the arts should not trump just because they want to assert some new type of "property right" simply because they have devised some sort of technical trick to that tries to enforce some aspect of their monopoly.

To continue the example used by Doctorow, just because you have a copyright or patent on the software that runs a cochlear implant, you shouldn't be automatically able to extend those monopolies to override the wishes of the person who actually has the cochlear implant surgically inserted into their skull.

Restrictions - limiting someone's uses - are trivial to talk about when the copyright is on some movie that isn't really important, so some people have accepted the DRM argument for movies. The point of Doctorow's talk is that the concept of restrictions becomes VERY different when you're talking about repossessing someone's legs or hearing.

A lot of this issue comes down to the propaganda that has been used by the media industry over the last few decades. They created the incorrect term "Intellectual Property", when property rights are not what the government grants you when you get a copyright or patent. You get some legal rights, which is fine. You get an easy civil court case. The current effort is to try and extend that limited, specific purpose monopoly into other areas by claiming that your movie, book, song, or software is "property". Being "property" is important, because it is a lot easier to make a case that your property should be defended by force. We defend traditional property because it is finite (aka a "scarce resource"). Government granted fictions don't need such protection, as they already have it by definition!

Now, you're worried about how interesting art and such will be created, and the answer to that is simple: the same ways it has always been created, and if you're clever, some new ways. It is easy to use Kickstarter as an example of new ways to fund things, but the cool, really interesting ways haven't even been invented yet. I realize that this is probably a hard and risky business, but a copyright doesn't mean you should be able to remove that risk by break the general purpose computer. A copyright doesn't mean you should be able to get rights beyond the first sale and the ability to sue people that distribute your monopoly protected works, just because you found some technical trick (DRM) to make that distribution initially difficult. Being able to sue someone doesn't mean you're entitled to have the government any enforcement costs. Most importantly, that same copyright doesn't grant you a market or audience or any kind of guaranteed income, nor should it trump any *human rights".

It will be hard for a while, as new styles of funding are explored. Many musicians have already moved back to a live-performance model, with patronage being used in some areas. I suggest that anybody thinking that restrictions (DRM) are necessary instead focus their time and money on changing to a new funding model - or inventing one - instead of wasting that their time and money trying to prop up pre-general-purpose-computer business models.