By Lawrence Lessig
Lawrence Lessig, "the most vital philosopher on highbrow estate within the net period" (The New Yorker), is usually known as our top cultural environmentalist. His concentration is the surroundings of creativity, the surroundings created round it via expertise and legislations. To learn unfastened tradition is to appreciate that the healthiness of that environment is in grave peril. whereas new applied sciences continuously result in new legislation, Lessig indicates that by no means prior to have the massive cultural monopolists drummed up such unease approximately those advances, particularly the net, to decrease the general public area whereas utilizing an identical advances to manage what we will and cannot do with the tradition throughout us. what is at stake is our freedom -- freedom to create, freedom to construct, and, finally, freedom to imagine. Read more...
summary: Lawrence Lessig, "the most crucial philosopher on highbrow estate within the net period" (The New Yorker), is frequently known as our top cultural environmentalist. His concentration is the environment of creativity, the surroundings created round it via know-how and legislation. To learn unfastened tradition is to appreciate that the wellbeing and fitness of that environment is in grave peril. whereas new applied sciences continually result in new legislation, Lessig indicates that by no means prior to have the large cultural monopolists drummed up such unease approximately those advances, specifically the net, to lessen the general public area whereas utilizing a similar advances to manage what we will be able to and cannot do with the tradition throughout us. what is at stake is our freedom -- freedom to create, freedom to construct, and, eventually, freedom to visualize
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Additional resources for Free culture : how big media uses technology and the law to lock down culture and control creativity
5 In this way, the Kodak camera and film were technologies of expression. The pencil or paintbrush was also a technology of expression, of course. But it took years of training before they could be deployed by amateurs in any useful or effective way. With the Kodak, expression was possible much sooner and more simply. The barrier to expression was lowered. Snobs would sneer at its “quality”; professionals would discount it as irrelevant. But watch a child study how best to frame a picture and you get a sense of the experience of creativity that the Kodak enabled.
When old men sat around parks or on street corners telling stories that kids and others consumed, that was noncommercial culture. When Noah Webster published his “Reader,” or Joel Barlow his poetry, that was commercial culture. At the beginning of our history, and for just about the whole of our tradition, noncommercial culture was essentially unregulated. Of course, if your stories were lewd, or if your song disturbed the peace, then the law might intervene. ” The ordinary ways in which ordinary individuals shared and transformed their culture—telling stories, reenacting scenes from plays or TV, participating in fan clubs, sharing music, making tapes—were left alone by the law.
Would the Japanese gain something important if they could end this practice of uncompensated sharing? Does piracy here hurt the victims of the piracy, or does it help them? Would lawyers fighting this piracy help their clients or hurt them? Let’s pause for a moment. If you’re like I was a decade ago, or like most people are when they first start thinking about these issues, then just about now you should be puzzled about something you hadn’t thought through before. ” I am one of those celebrants.