Lawrence Lessig takes the complicated issues surrounding modern copyright and explains them in terms laypeople can comprehend. Moreover, he makes a compelling argument from an economic standpoint as to why less copyright could lead to more profit. My favourite quotation from this book is: Copyright law has got to give up its obsession with "the copy. It should instead regulate uses—like public distributions of copies of copyrighted work—that connect directly to the economic incentive copyright law was intended to foster. Lessig succinctly reveals the flawed premise from which most corporations approach the concept of copyright in our digital age.
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Today you hear these infernal machines going night and day. We will not have a vocal chord left. He was describing how a technology We would become just consumers of culture, not also producers. The same is not true when you crack open a book: "For most of American history it was extraordinarily rare for ordinary citizens to trigger copyright law RO culture in the digital age is thus open to control in a way that was never possible in the analog age For the first time, [copyright law] reaches beyond the professional to control the amateur.
The system loves the game; the game therefore never ends. On the birth of the "Copyright Wars": According to Lessig, the war began during the fall of , when members of the "content industry" read: media giants began to grasp the implications of digital technology on copyright enforcement. An analog tape was difficult to copy and disseminate.
An MP3 file, on the other hand, just required the click of a mouse. In September of that year, movie studios and record labels met with the Commerce Department to map out a new legal strategy. The technology could enable almost any form of control the copyright owner could imagine. On the remix as an art form: Likening this new form of digital creativity to a chef using store-bought ingredients, Lessige writes, "the remix artist does the same thing with bits of culture found in his digital cupboard.
Recalling storytime with his oldest son, Lessig writes, "The moment he first objected to a particular shift in the plot, and offered his own, was one of the coolest moments of my life.
I want to see this expressed in every form of cultural meaning I want him to be the sort of person who can create by remaking If the war simply ended tomorrow, what forms of creativity could we expect? What good could we realize, and encourage, and learn from? Each, he argues, will require its own set of rules. The result is a wealth of interesting examples and theories on how and why digital technology and copyright law can promote professional and amateur art.
We can only criminalize it. We can only drive that remix underground.
Remix by Lawrence Lessig
The powerfully disruptive forces of technology are remaking the landscape, producing enormous winners and once-mighty losers, with the full impact on the culture, for good or for ill, yet to be determined. Meanwhile, the recorded-music industry has been suing its fans for making digital copies of songs, even as the industry itself has yet to find a business model that works. Then there is the movie industry, which fears being next as it becomes widely possible to download massive streams of video. Television broadcasters, for their part, are not sure whether the web is friend or foe. What with all this creative destruction in the air to borrow the apt phrase of the great economist Joseph Schumpeter , it is understandable that executives of traditional media companies have had little time for a sharp critique of what they regard as their most fundamental property right—their right, that is, to the intellectual content of their music, films, and video. Yet this right itself, protected under the traditional laws of copyright, is very much under siege.
Lawrence Lessig: Decriminalizing the Remix
Summary[ edit ] In Remix, Lawrence Lessig , a Harvard law professor and a respected voice in what he deems the " copyright wars", describes the disjuncture between the availability and relative simplicity of remix technologies and copyright law. Lessig insists that copyright law as it stands now is antiquated for digital media since every "time you use a creative work in a digital context, the technology is making a copy". It is the vernacular of today. The children growing up in a world where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal. Thus most corrosive outcome of this tension is that generations of children are growing up doing what they know is "illegal" and that notion has societal implications that extend far beyond copyright wars. The RO culture is the culture we consume more or less passively.