Owning a resource means that you get to decide how the resource is consumed, i.e. used up. This is exclusive only to the extent that scarce resources cannot be put to two conflicting uses simultaneously, so active use by anyone else would prevent the owner from consuming the resource as they choose. Data, however, is not scarce; it can never be used up. There is no possible conflict between the "owner" and any other user, which makes the claim of ownership meaningless. No matter what anyone else might do with the data, the "owner" still has it and can use it however they wish.
That may be semantically different than “ownership”, but is otherwise functionally irrelevant in the context of this conversation.
The idea that creators shouldn't have the right to control their works is wildly radical -- even more than the FSF's view. Even the concept of copyleft relies on the right of the creator to impose licensing on their creative works. If copyrights didn't exist, licenses that require source to be shared, like GPL, couldn't exist.
You're well entitled to your opinion, but I'm glad the world doesn't work that way, because things like the restrictive clauses in GPL have been very good for the world.
That's the labor which is scarce. Not copies of the copyrighted work. I already said people who create things should be paid for that labor—or more to the point, have to be paid if you want them to continue to create things. That does not imply that they deserve to control what others do with the work after it's been produced and published. That was just an expedient method chosen to encourage "the sciences" (though in practice it's been applied more to entertainment). There are better ways.
> If copyrights didn't exist, licenses that require source to be shared, like GPL, couldn't exist.
The GPL was created as a counterbalance to copyright. In a world without copyright there never would have been any need for it. Moreover, permissive licenses like MIT and BSD have had their share of success even without a requirement to share source code for modifications.
> The idea that creators shouldn't have the right to control their works is wildly radical -- even more than the FSF's view.
It's not really all that radical. Copyright itself is a relatively recent invention and was originally designed as a means of censorship and protectionism for publishers. Before that there was no practical means for an author to control distribution of their work, or any expectation that they should be able to do so. The manual duplication of notable works was routine, and you wouldn't find those scribes begging the author's permission.
In more modern terms, the popularity of file sharing certainly suggests that a very large fraction of the population doesn't act like they believe authors should be able to control the distribution of their works once they're published. Copyright is mainly popular among those who directly benefit from it, much like any other subsidy.
> There are better ways.
Like what, paying for labor instead of the work itself? That may work well (and already does) for more commoditized/custom-purpose/one-time-use creative works, but how do we apply something like that to something like recorded-media entertainment? Prepay for Taylor Swift's next album on Kickstarter?
Yes, exactly. There is no reason why a Kickstarter or Patreon model wouldn't work for recorded-media entertainment. Those approaches have already been used for things which are much more labor-intensive than music albums.
Artists with an established brand and fan following have some additional options, such as limited-edition merchandise or signed prints. Scarce physical goods that can't just be duplicated because their value is derived from their providence.
The owner owns their device, yes but they don't always own the data on the device. DRM, for all its faults, is an attempt to reconcile to reconcile the two conflicting requirements.