{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"9c884da5-4c5c-4613-91be-2dad1863fbfa","title":"黑箱社会 控制金钱和信息的数据法则＝THE BLACK BOX SOCIETY","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787508655208","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"9c884da5-4c5c-4613-91be-2dad1863fbfa","id":"9c884da5-4c5c-4613-91be-2dad1863fbfa","uuid":"9c884da5-4c5c-4613-91be-2dad1863fbfa","title":"黑箱社会 控制金钱和信息的数据法则＝THE BLACK BOX SOCIETY","normalized_title":"黑箱社会控制金钱和信息的数据法则theblackboxsociety","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787508655208","isbns":["9787508655208"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":318,"navigation_url":"https://workshop.closeclaw.top/ai/book/9c884da5-4c5c-4613-91be-2dad1863fbfa","title_url":"https://workshop.closeclaw.top/ai/title/%E9%BB%91%E7%AE%B1%E7%A4%BE%E4%BC%9A%20%E6%8E%A7%E5%88%B6%E9%87%91%E9%92%B1%E5%92%8C%E4%BF%A1%E6%81%AF%E7%9A%84%E6%95%B0%E6%8D%AE%E6%B3%95%E5%88%99%EF%BC%9DTHE%20BLACK%20BOX%20SOCIETY","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/9c884da5-4c5c-4613-91be-2dad1863fbfa/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/9c884da5-4c5c-4613-91be-2dad1863fbfa/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/9c884da5-4c5c-4613-91be-2dad1863fbfa","page_url":"https://workshop.closeclaw.top/api/ai/books/9c884da5-4c5c-4613-91be-2dad1863fbfa/page","search_url":"https://workshop.closeclaw.top/api/ai/books/9c884da5-4c5c-4613-91be-2dad1863fbfa/search"},"page":{"printed_page":277,"pdf_page":296,"physical_index":296,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"17651221b8c25b3090bde39dbf44c56ad2214f23a5f311b2fe75f168cbadfbc6"},"chapter":"第三章","content":"这种方式或许可以对娱乐产业的收益分配进行“调整”，并可以针对某一个群体(这里指艺术家)进行监督和施行软性控制。我们可以对强制许可费制度进行重塑，设定一个最起码的补偿金额来为艺术家们提供某种程度的保障(安全系统2.0？)，并通过设置最大收益限额来避免上游操纵行为。根据点击量来精确衡量“价值”的愿望可能无法体现经济学因素：非常高效的视频只需点击一次即可“满足需求”，而且一首好歌胜过百首背景音乐的体验价值。\n\n另外，作品的播放和版权效益的最大化之间也存在冲突，而且即使是最进步的改革建议也无法顾及方方面面。法律部门通常采取这种态度：“我们来负责法律和金钱问题，让艺术家去关心创作。”然而，创作力是企业的核心，它不应该被视为“附加品”或独立于法律之外的事项。如果我们不鉴别艺术创作的优劣模式，也就无法制定正确的文化政策。\n\n如果法律上根本不可能很好地调整风险和回报的关系怎么办？我想起了约翰·凯伊(JohnKay)在《倾角：为什么我们的目标最好间接地实现》(Obliquity: WhyOur Goals Are BestAchievedIndirectly)中的见解，从而学会了从侧面进行观察。至少从我的经验来看，判断一个人是否应该把艺术当作事业来追求(或想成为一名企业家)，最好的办法就是看其配偶或家庭是否富有。理由是，试图通过成为一名画家、音乐家、演员来维持生计的做法太过冒险—特别是考虑到美国的社会福利、食品券发放\n\n第六章可被了解的社会\n\n277","previous_page":276,"next_page":278}