Remix: Making Art and Commerce Thrive in the Hybrid Economy pdf

劳伦斯·莱西格是哈佛法学院的 Roy L. Furman 法学与领导力教授。在回到哈佛之前，他在斯坦福大学法学院和芝加哥大学任教，并在那里创立了互联网与社会中心。他为第七巡回上诉法院的理查德·波斯纳法官和美国最高法院的安东宁·斯卡利亚法官担任书记员。 劳伦斯·莱西格 是 Equal Citizens 的创始人和 Creative Commons 的创始董事会成员，并在 AXA 研究基金的科学委员会任职。作为美国艺术与科学学院和美国哲学学会的成员，他获得了许多奖项，包括韦比奖、自由软件基金会的自由奖、科学美国人 50 奖和 Fastcase 50 奖。 曾被《纽约客》誉为“互联网时代最重要的知识产权思想家”，Lessig 已将他的关注点从法律和技术转向“机构腐败”——这种关系虽然合法，但会削弱公众对机构的信任——尤其是因为这会影响民主。 劳伦斯·莱西格 拥有宾夕法尼亚大学经济学学士学位和管理学学士学位、剑桥大学哲学硕士学位和耶鲁大学法学博士学位。

Remix: Making Art and Commerce Thrive in the Hybrid Economy pdf 劳伦斯·莱西格

The author of Free Culture shows how we harm our children—and almost anyone who creates, enjoys, or sells any art form—with 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 war—a war waged against our kids and others who create and consume art. America’s 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 today’s most talented artists are felons, and so are our kids, who see no reason why they shouldn’t 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 conflict—a 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 support—artistic, commercial, and ethical—that 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 realm—from news to music—and 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.