From
What is Art For?
In the late 1990s, Hyde began extending his lifelong project of examining “the public life of the imagination” into what had become newly topical territory: the “cultural commons.”
a corporate “land grab” of information... has put a stranglehold on creativity, in increasingly bizarre ways.
We may believe there should be a limit on the market in cultural property, he argues, but that doesn’t mean that we have “a good public sense” of where to set that limit. Hyde’s book is, at its core, an attempt to help formulate that sense.