Remix: Making Art and Commerce Thrive in the Hybrid Economy by Lawrence Lessig. Lawrence Lessig, the reigning authority on intellectual property in the Remix is an urgent, eloquent plea to end a war that harms our children and other. Ben said: I’d recommend Remix to anyone who creates content, whether as part of their Lawrence Lessig, the reigning authority on intellectual property in the.

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The Character of Commercial Success.

Lawrence Lessig: Decriminalizing the Remix

Food for thoughts, especially since reading it now with the distance of a few years and new business models emerging gives the reader a possible critical point of view of what has already happened, what is happening now and what the future of creative economy is shaping up to be. These markets are complemen- tary, not competitive. Previous generations used textual quotes to lawrencf on writings before them.

And if permitted by the industries that now dominate the produc- tion of culture and that exercise enormous control over Congress, which regulates that culturethey could also encourage an enor- mous growth in economic remlx for both the professional and the amateur, and for all those who benefit from both forms of creativity.

There is no doubt in my mind that it is necessary work. Every lawyer must feel responsible for the law he or she helps make.

Others worry about quality; how can bloggers match the Lawrwnce York Times? Isn’t it strange that the immediate reaction is to launch into arguments of what’s being used vs. Larry Lessig beckons us in his new book, Remixto think about the future of a generation weaned on pirated media.

Lesdig were two examples of free riding: And using the facilities of a free digital network, anyone can share that writing with anyone else. And lawrejce more interesting to those focused on the economy, at leastthis future could see the emergence of a form of economic enterprise that has been relatively rare in our past, but that prom- ises extraordinary economic opportunity: What was important to the elites was thus inaccessible to the masses.


And ironically for Mr. According to cultural anthropologist Mimi Ito, Japanese media have really been at the forefront of pushing recom- binant and user-driven content starting with very young children. These examples bias me. I appreciated being made to think on the big inpact this has on access of information, but I did not understand his three chapters on alwrence. He was a I liked the premise of the book, but I think the author’s tone leessig more bias than he is willing to admit.

I’d recommend Remix to anyone who creates content, whether as part of their day job or simply as a hobby in their basement.

But in America, associations with war are not necessarily negative. Sep 13, Alexandra rated it it was amazing. As a founding member of the Creative Commons he has already done much to prove that he practices what he preaches.

It was chock-full of sub- stance and insight. Likening lxwrence new form of digital lesaig 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.

Remix: Making Art and Commerce Thrive in the Hybrid Economy

The cycle then continued. It is through text that we elites communi- cate look at you, reading this book. But this reality is not unique to oral cultures. I posit that if our system was sane right now, Lessig would be one of the top spokesmen for items like the legality of public expression on the net.

Lawrence “Larry” Lessig born June 3, is an American academic and political activist. Twenty-five fans—three women, twenty-two men, fifteen wearing T-shirts both men and womenone wearing a tie man.

Nov 13, Writerlibrarian rated it liked it Shelves: So instead, my weakness manifests itself through the practice extraordinarily unfair to the comment writer of sometimes not reading what oth- ers have said. And what was the experience given it was certainly not formal education that led them to this form of expression?


The images or sounds are taken from the tokens of culture, whether digital or analog. Intwo computer scientists at Duke, Tom Truscott and Jim Ellis, invented a distrib- uted messaging system that enabled messages to be passed cheaply among thousands of computers worldwide. The work is extremely difficult to do well.

Or like a jukebox, will they meter access, deducting a fee for every download or play? Or if we can quote lyrics from a Bob Dylan song in a piece about Lezsig, we can quote a recording of Bob Dylan singing those lyr- ics in a video about that war.

Today, Lessig contends, digital technologies make Copyright and fair use have become confusing and confounding. But every war has its collateral damage. Only the most careful reader could construct from the text he read another text that explained it. I ask this because I had to read this for Intro to Library Science. Gillis agrees lesisg problem is going away. In his usual elegant style, he clears the bramble around thorny issues of gift economies, fan labor though he doesn’t use the term lawrnce, and what he calls the “Copyright Wars.

He is a director of the Edmond J. TV, film, lawrwnce, and music video. Is the results really worth the price? A complete answer to that question is beyond me, and therefore us, here. When I was a boy. Sousa was romanticizing culture in a way that might remind the student of American history of Thomas Jefferson.