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Lawrence Lessig
The author of a number of books,
Lawrence Lessig is a professor of law at
Stanford Law School. Lessig
is a well-known proponent of reducing the restrictions
on copyright, trademark and the radio frequency spectrum.
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By Lawrence Lessig
Penguin (Non-Classics)
Released: 2005-02-22
Paperback (368 pages)
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Lawrence Lessig, the most important thinker on intellectual property in the Internet era (The New Yorker), masterfully argues that never before in human history has the power to control creative progress been so concentrated in the hands of the powerful few, the so-called Big Media. Never before have the cultural powers- that-be been able to exert such control over what we can and cant do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine. |
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By Lawrence Lessig
Vintage
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If The Future of Ideas is bleak, we have nobody to blame but ourselves. Author Lawrence Lessig, a Stanford law professor and keen observer of emerging technologies, makes a strong case that large corporations are staging an innovation-stifling power grab while we watch idly. The changes in copyright and other forms of intellectual property protection demanded by the media and software industries have the potential to choke off publicly held material, which Lessig sees as a kind of intellectual commons. He eloquently and persuasively decries this lopsided control of ideas and suggests practical solutions that consider the rights of both creators and consumers, while acknowledging the serious impact of new technologies on old ways of doing business. His proposals would let existing companies make money without using the tremendous advantages of incumbency to eliminate new killer apps before they can threaten the status quo. Readers who want a fair intellectual marketplace would do well to absorb the lessons in The Future of Ideas. --Rob Lightner |
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By Lawrence Lessig
Basic Books
Paperback (432 pages)
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There’s a common belief that cyberspace cannot be regulated-that it is, in its very essence, immune from the government’s (or anyone else’s) control. Code, first published in 2000, argues that this belief is wrong. It is not in the nature of cyberspace to be unregulable; cyberspace has no “nature.” It only has code-the software and hardware that make cyberspace what it is. That code can create a place of freedom-as the original architecture of the Net did-or a place of oppressive control. Under the influence of commerce, cyberspace is becoming a highly regulable space, where behavior is much more tightly controlled than in real space. But that’s not inevitable either. We can-we must-choose what kind of cyberspace we want and what freedoms we will guarantee. These choices are all about architecture: about what kind of code will govern cyberspace, and who will control it. In this realm, code is the most significant form of law, and it is up to lawyers, policymakers, and especially citizens to decide what values that code embodies. Since its original publication, this seminal book has earned the status of a minor classic. This second edition, or Version 2.0, has been prepared through the author’s wiki, a web site that allows readers to edit the text, making this the first reader-edited revision of a popular book. |
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By Lawrence Lessig
Penguin Press HC, The
Released: 2004-03-25
Hardcover (368 pages)
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From "the most important thinker on intellectual property in the Internet era" (The New Yorker), a landmark manifesto about the genuine closing of the American mind.
Lawrence Lessig could be called a cultural environmentalist. One of America's most original and influential public intellectuals, his focus is the social dimension of creativity: how creative work builds on the past and how society encourages or inhibits that building with laws and technologies. In his two previous books, Code and The Future of Ideas, Lessig concentrated on the destruction of much of the original promise of the Internet. Now, in Free Culture, he widens his focus to consider the diminishment of the larger public domain of ideas. In this powerful wake-up call he shows how short-sighted interests blind to the long-term damage they're inflicting are poisoning the ecosystem that fosters innovation.
All creative works-books, movies, records, software, and so on-are a compromise between what can be imagined and what is possible-technologically and legally. For more than two hundred years, laws in America have sought a balance between rewarding creativity and allowing the borrowing from which new creativity springs. The original term of copyright set by the Constitution in 1787 was seventeen years. Now it is closer to two hundred. Thomas Jefferson considered protecting the public against overly long monopolies on creative works an essential government role. What did he know that we've forgotten?
Lawrence Lessig shows us that while new technologies always lead to new laws, never before have the big cultural monopolists used the fear created by new technologies, specifically the Internet, to shrink the public domain of ideas, even as the same corporations use the same technologies to control more and more what we can and can't do with culture. As more and more culture becomes digitized, more and more becomes controllable, even as laws are being toughened at the behest of the big media groups. What's at stake is our freedom-freedom to create, freedom to build, and ultimately, freedom to imagine. |
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By Richard M. Stallman
Free Software Foundation
Hardcover (224 pages)
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The intersection of ethics, law, business and computer software is the subject of these essays and speeches by MacArthur Foundation Grant winner, Richard M. Stallman. This collection includes historical writings such as The GNU Manifesto, which defined and launched the activist Free Software Movement, along with new writings on hot topics in copyright, patent law, and the controversial issue of "trusted computing." Stallman takes a critical look at common abuses of copyright law and patents when applied to computer software programs, and how these abuses damage our entire society and remove our existing freedoms. He also discusses the social aspects of software and how free software can create community and social justice. Given the current turmoil in copyright and patent laws, including the DMCA and proposed CBDTPA, these essays are more relevant than ever. Stallman tackles head-on the essential issues driving the current changes in copyright law. He argues that for creativity to flourish, software must be free of inappropriate and overly-broad legal constraints. Over the past twenty years his arguments and actions have changed the course of software history; this new book is sure to impact the future of software and legal policies in the years to come. Lawrence Lessig, the author of two well-known books on similar topics, writes the introduction. He is a noted legal expert on copyright law and a Stanford Law School professor. |
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By Lawrence Lessig
Basic Books
Paperback (320 pages)
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"We, the Net People, in order to form a more perfect Transfer Protocol..." might be recited in future fifth-grade history classes, says attorney Lawrence Lessig. He turns the now-traditional view of the Internet as an uncontrollable, organic entity on its head, and explores the architecture and social systems that are changing every day and taming the frontier. Code and Other Laws of Cyberspace is his well-reasoned, undeniably cogent series of arguments for guiding the still-evolving regulatory processes, to ensure that we don't find ourselves stuck with a system that we find objectionable. As the former Communist-bloc countries found, a constitution is still one of our best guarantees against the dark side of chaos; and Lessig promotes a kind of document that accepts the inevitable regulatory authority of both government and commerce, while constraining them within values that we hold by consensus. Lessig holds that those who shriek the loudest at the thought of interference in cyberdoings, especially at the hands of the government, are blind to the ever-increasing regulation of the Net (admittedly, without badges or guns) by businesses that find little opposition to their schemes from consumers, competitors, or cops. The Internet will be regulated, he says, and our window of opportunity to influence the design of those regulations narrows each day. How will we make the decisions that the Framers of our paper-and-ink Constitution couldn't foresee, much less resolve? Lessig proclaims that many of us will have to wake up fast and get to work before we lose the chance to draft a networked Bill of Rights. --Rob Lightner |
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By Kembrew McLeod
Univ Of Minnesota Press
Paperback (392 pages)
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Freedom of Expression® covers the ways in which intellectual property laws have been used to privatize all forms of expressionâfrom guitar riffs and Donald Trump’s “you’re fired” gesture to human genes and public spaceâand in the process stifle creative expression. Kembrew McLeod challenges the blind embrace of privatization as it clashes against our right to free speech and shared resources.
Kembrew McLeod is professor of communication studies at the University of Iowa, author of Owning Culture: Authorship, Ownership, and Intellectual Property Law, and coproducer of the documentary Copyright Criminals: This Is a Sampling Sport.
Lawrence Lessig is professor of law at Stanford Law School.
This book’s documentary companion will be available through Media Education Foundation.
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By Lawrence Lessig, David Gordon, Omer Fast, Jennifer McCoy, Douglas Gordon & Paul Pfeiffer
Milwaukee Art Museum
Released: 2004-11-02
Paperback (128 pages)
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The moving picture, film, and television have exerted an unmatched influence throughout the 20th century, equally documenting and constructing our reality. It is the peculiar power of the moving image that while it may be depicting a fiction, our viewing of it is real and therefore the experience and memory we take away from it is filed away with all the other events and memories that have actually happened to us. The artists in CUt have taken the material of their reality--the movie and the news program--and manipulated it to reveal its power to communicate and shape reality. Clearly indebted to the appropriation strategies of the 1980s and sampling in hip hop and rap music of the 1990s, these artists are united by their gestural use of editing. Whether through looping, repetition, erasure, or compression, their active manipulation of their medium recalls the importance that action was given by Richard Serra in 1968, when he published Verb List, a list of actions that a sculptor could use to create sculpture: to roll, to crease, to fold, to cut, etc. CUt explores the actions through which artists create videos. Through the physical manipulation of the most familiar of media, they restructure reality, making the familiar unfamiliar and instilling in the viewer the opportunity to comprehend and distinguish a new reality. Included are works by Candice Breitz, Omar Fast, Douglas Gordon, Michael Joaquin Grey, Pierre Huyghe, Christian Marclay, Jennifer & Kevin McCoy, and Paul Pfeiffer. |
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By Lawrence Lessig
Penguin Press HC, The
Released: 2008-10-16
Hardcover (320 pages)
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The author of Free Culture shows how we harm our childrenand almost anyone who creates, enjoys, or sells any art formwith a restrictive copyright system driven by corporate interests. Lessig reveals the solutions to this impasse offered by a collaborative yet profitable hybrid economy.
Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture wara war waged against our kids and others who create and consume art. Americas copyright laws have ceased to perform their original, beneficial role: protecting artists creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions.
For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of todays most talented artists are felons, and so are our kids, who see no reason why they shouldnt do what their computers and the Web let them do, from burning a copyrighted CD for a friend to biting riffs from films, videos, songs, etc and making new art from them.
Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflicta war as ill conceived and unwinnable as the war on drugs. By embracing read-write culture, which allows its users to create art as readily as they consume it, we can ensure that creators get the supportartistic, commercial, and ethicalthat they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the sharing economy evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realmfrom news to musicand Lessig shows how we can and should use it to benefit those who make and consume culture.
Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded. |
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By Lawrence Lessig
Cato Institute
Released: 2005-08-01
Digital (11 pages)
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This digital document is an article from Regulation, published by Cato Institute on September 22, 2004. The length of the article is 3142 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Coase's first question: when should there not be property rights?(Telecommunications)(Ronald Coase)
Author: Lawrence Lessig
Publication: Regulation (Refereed)
Date: September 22, 2004
Publisher: Cato Institute
Volume: 27 Issue: 3 Page: 38(4)
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