Remix Making Art and Commerce Thrive in the Hybrid Economy
 | |
| Author | Lawrence Lessig |
|---|---|
| Publisher | Penguin Press |
| Publication engagement | 2008 |
| Pages | 352 |
| ISBN | 978-1-59420-172-1 |
| OCLC | 213308970 |
| Preceded past | Lawmaking: Version 2.0 |
| Followed by | Democracy, Lost |
Remix: Making Art and Commerce Thrive in the Hybrid Economy is Lawrence Lessig's fifth book. The book was fabricated available for free download and remixing[1] under the CC BY-NC[2] Creative Commons license via Bloomsbury Bookish.[3] It is notwithstanding available via the Cyberspace Annal.[4] It details a hypothesis about the societal effect of the Cyberspace, and how this will affect production and consumption of popular culture to a "remix culture".
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 police force. Lessig insists that copyright law every bit it stands now is antiquated for digital media since every "time you apply a creative work in a digital context, the technology is making a copy".[v] Thus, amateur use and appropriation of digital technology is under unprecedented control that previously extended only to professional person utilize.
Lessig insists that knowledge and manipulation of multi-media technologies is the current generation'southward form of "literacy"- what reading and writing was to the previous. Information technology is the colloquial of today. The children growing upwards in a globe where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal. Lessig insists that amateur cribbing in the digital age cannot be stopped simply only 'criminalized'. Thus virtually 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 book is now bachelor as a complimentary download under ane of the Creative Commons' licenses (CC BY-NC iii.0[half-dozen] [7]).[8]
Read-only culture vs. read/write culture [edit]
Lessig outlines two cultures - the read-only culture (RO) and the read/write culture (RW). The RO culture is the culture nosotros consume more or less passively. The information or product is provided to u.s.a. by a 'professional person' source, the content industry, that possesses an authorisation on that particular product/data. Analog technologies inherently supported RO culture's business organisation model of production and distribution and limited the role of the consumer to just that, 'consuming'.
Digital technology, even so, does not have the 'natural' constraints of the analog that preceded it. "What before was both impossible and illegal is now merely illegal"(38). Steve Jobs was the starting time to see potential in this new market made possible past digital engineering science. RO civilization had to be recoded in club to compete with the "free" distribution made possible by the Internet. iTunes Music store was proof of this. While information technology provided digital music it was protected by a Digital Rights Management (DRM) lawmaking from re-distribution. Lessig uses this key example to bear witness that it is possible to reach a business model which balances access and command and is equally attractive to both the consumers and the creators. In addition, digital technologies accept changed the fashion we call back most 'access'. Today, most of united states of america would never structure our mean solar day around a particular program because we know that information technology is well-nigh likely available online - even if information technology is not necessarily costless of accuse. Lessig insists, using Amazon equally his premiere case, that the time to come of entertainment and advertising lies in accumulating information about a consumer and tailoring the product to their preferences.
As opposed to RO culture, Read/Write civilisation has a reciprocal relationship betwixt the producer and the consumer. Taking works, such as songs, and appropriating them in private circles is exemplary of RW culture, which was considered to be the 'popular' culture before the advent of reproduction technologies. The technologies and copyright laws that presently followed, however, changed the dynamics of pop civilisation. Equally information technology became professionalized people were taught to defer production to the professionals.
Lessig posits that digital technologies provide the tools for reviving RW culture and democratizing production. He uses blogs to explain the three layers of this democratization. Blogs take redefined our human relationship to the content industry as they immune admission to not-professional content. The 'comments' feature that presently followed provided a infinite for readers to take a dialogue with the amateur contributors. 'Tagging' of the blogs by users based on the content provided the necessary layer for users to filter the sea of content co-ordinate to their involvement. The tertiary layer added bots that analyzed the relationship between various websites by counting the clicks betwixt them and, thus, organizing a database of preferences. The three layers working together established an "ecosystem of reputation"(61) that served to guide users through the blogosphere. Lessig uses the web log model to demonstrate a wider conclusion - while at that place is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW civilisation and the 'ecosystem of reputation' provides a space for many talented voices to be heard that was not available in the pre-digital RO model.
Hybrid Economies [edit]
At that place are 3 economies that Lessig introduced in his book. The offset is the commercial economy. Commercial Economies at their very middle value money the well-nigh and build value around the monetary. Second to this is the sharing economy which completely ignores money every bit an item of value and instead focuses on valuing things that are not monetary.[9] But settled in betwixt the ii is a tertiary, the hybrid economy. He asserts that the hybrid economy volition be the dominant forcefulness with the ascent of the web, and in guild for it thrive the two economies from which information technology borrows from must be preserved. Conceptually the monetizing nature from the commercial, and the 'lending' quality of the sharing economy are necessary to ensure that the hybrid doesn't lose sight of economic gain or doesn't lose the willingness to obtain economical resource.
The Internet and Commons
The internet is essentially the hub for this type of economy. With more people utilizing it every bit a platform for sharing and monetizing, the internet's primary function is divide in two. In order for people to 'Remix' they need the internet for its open and costless pattern.
Remix, co-ordinate to Lessig, is non solely digital, simply likewise relates to the deed of reading and applying texts to their personal life. Culturally, critically taking in what is going on (the original content) and developing an opinion that tin be shared and given transformed significant, is likewise considered remixing.[10]
Most of the contend in Remix is in regard to ownership. Due to the fact that remixing is limitless, information technology becomes difficult to end. Every mix becomes a resource for another new mix and expands to others even if they are never seen.[10] When it comes to the internet, ownership has become a murky discipline. Companies who originated a piece of piece of work are owners of that production, but only if information technology is copyrighted and protected legally. That beingness said, people without access to these legalities are unprotected and liable to get their ideas and content stolen. This is where the commons becomes prevalent.
He defines the commons every bit resources that are available for everyone equally in a certain group.[11] The internet was invented for flexible accessibility and thus facilitates innovation. This is Lessig'due south philosophy, even so the issue comes with a price tag. The fight to define who owns a creative work of art if it contains other works non owned by the political party is what Lessig says is "killing creativity". Although people have become used to this, he argues that it is for this reason that he claims that it is an attempt at "counterrevolution".[12]
Free Software
Notably Richard Stallman is vocal about his stance on the positive repercussions of utilizing free software, namely Linux. Essentially both Stallman and Lessig are on the same page. When information technology comes to 'hybrid' economies, Linux fits the description with its selling point being "benefits", instead of "features".[13] This on its ain has no continuing for 'justice' but rather the profitability of such a software.
Remixing is this software's very nature. The appeal is to "sell" the benefits of its utilise. People no longer have to wait for a company to fix bugs, or other issues with the software and instead they tin can collaborate and ultimately practise it themselves. This can exist done with other software, but the downside is that legally with paid proprietary software there are repercussions to prevent, the software from being "remixed" and sold as an alternative "original"'.
The Prevalence of YouTube [edit]
YouTube'southward growing issue in copyright claims
With the internet comes what Lessig described as community spaces, with site YouTube up for major contend for its ability to both provide original content and exist equally an open bank for content to Remix. The website provides users a domain to not merely swallow, but to brand creative content. Inventiveness in this sense, relates to the combining of elements or materials with an individuals original ideas to create a unique product.[14] Lessig has had his own fight with the platform when his Lecture got taken downwards in 2013 on grounds of violating Copyright laws due to a song from the ring Phoenix being used in part of the presentation. All the same, due to the non-commercialized and transformed nature of his usage, the video should have fallen under Fair use.[fifteen] This upshot is an example of exactly what he is fighting for.
In addition to the Digital Millennium Copyright Act of 1998, YouTube also allows the claimant to place advertisements on the video. This is done as retribution for using or allowing copyrighted media in the video, and allows the user to proceed the video upwardly without having to deal with legalities.[sixteen] The website is taking the emphasis off of the creation, and placing information technology on the budgetary value that it holds. Lessig argues that these issues should exist separated when it comes to apprentice non commercialized content.
With growing frequency, YouTube has begun copyright hit, and taking downwardly videos that appear to have claimed content in them in whatsoever way. Without the merits in question, to be the chief characteristic in the video, it tin can only be a song playing in the background that can take a user's work off the web. While original content featuring sole a user'south own ideas and content does exist, this is not the focus of Remixing, or Lessig's indicate. Information technology is non solely creating new and unique ideas with novelty resources, but instead pulling from multiple sources to give way to new products.
To that Lessig's rebuttal is that the piece of work made on such platforms should be gratuitous of legal buying aside from its originator. These new products leverage the references in their original work in society to build a new and dissimilar meaning; which has no implications of existence 'better' or 'worse' than its origin.
The remix [edit]
Lessig argues that today digital civilisation permeates our lifestyle to such extent - an boilerplate teenager volition spend an 60 minutes per weekend day using the computer for leisure and only 7 minutes reading - that "it is no surprise that these other forms of 'creating' are becoming an increasingly ascendant grade of 'writing'"(69). Previous generations used textual quotes to build on writings before them. Today, this process of quoting or collage is manifest through digital media. The remix utilizes the (multi-media) language through which the current generations communicate. They quote content from various sources to create something "new". Thus, the remix provides a commentary on the sounds and images it utilizes the same way a critical essay provides commentary on the texts it quotes. I of Lessig'due south favorite remix examples is the "Bush and Blair Beloved Song" which remixes images of President Bush and Tony Blair to make information technology appear as if they are lip-synching Lionel Richie'southward "Endless Love". "The message couldn't be more powerful: an emasculated Britain, as captured in the puppy love of its leader for Bush" (74). This remix in Lessig's eyes is exemplary of the power this type of expression holds - to non tell merely testify. Using preexisting images is vital to the art class because the production of meaning draws heavily on cultural reference an image or sound brings with it.
Their meaning comes not from the content of what they say; it comes from the reference, which is expressible only if it is the original that gets used.[17]
Lessig describes the remix phenomenon instrumental in creating cultural literacy and a critical view of media and advertising that permeates our daily lives. But, as it stands today, copyright law will inhibit education employing these digital forms of literacy for institutions will shy abroad from employ that might be deemed 'illegal'. Yet, Lessig reiterates, the remix form of expression cannot be killed, only criminalized.
Commercial economies vs. sharing economies [edit]
In addition to describing two cultures Lessig also proposes two economies: the commercial and the sharing. The commercial economy is governed by the simple logic of the market, where products and services have a tangible economical value, exist it money or labor. The Internet has been extremely successful as a portal for commercial economies to flourish - improving existing businesses and serving as a platform for thousands of new ones. Information technology has been exceptionally fruitful of businesses that cater to a niche market - exemplified past such companies as Amazon and Netflix which provide a range of items that could not exist accommodated by i physical space. This dynamic has been outlined by Wired''s editor in chief, Chris Anderson, in his volume The Long Tail. Another obvious success story of a digital commercial economy is Google, which has managed to create value from value others have already created.
The sharing economy functions outside monetary exchange. We all belong to sharing economies - virtually obvious examples are our friendships and relationships. This economy is regulated non by a metric of price simply by a gear up of social relations. Similar the commercial economy, the sharing economy extends into the digital realm. Lessig's favorite case is Wikipedia itself. The top ten most visited website relies on user contribution - from creation to editing - for its content and gives no budgetary incentive for this contribution. While providing the option of anonymity, the users of Wikipedia accept been remarkably consistent with the site's suggestions - be information technology regarding consistent aesthetic or neutral bespeak of view. A vital characteristic of a successful sharing economic system is people are in information technology because they want to be.
Hybrids [edit]
Lessig does a number of case studies of three types of successful hybrids.
[edit]
Lessig cites sites such as Dogster, Craigslist, Flickr, and YouTube as successful internet customs spaces that answer demand of the users who, in turn, reciprocate through sharing content and self-regulating by flagging inappropriate content. At the aforementioned time the sites make revenue through advertisements but are extremely conscientious to non overwhelm the users and disrupt the sense of community.
Collaboration spaces [edit]
Collaboration hybrids middle on the conventionalities of the users that they are working towards a common goal or edifice something together. Lessig's notable examples are volunteers of Usenet that aid those technologically in need solve computer bug – from minor to complex. They are non paid or recognized by Microsoft yet they are instrumental in building value for the company. Similarly, Yahoo! Answers launched in December 2005 has gathered an enormous following of people answering other people'south questions for free. They practice non participate for any incentive other than to share their expertise and help others. In this category Lessig also cites the now infamous Heather Lawver 2000 instance subsequently the teenager started a fan site for J.1000. Rowling's Harry Potter series, only to be constantly 'threatened' by Warner for illegal use of copyrighted content. Eight years later many big corporations have, at to the lowest degree in part, learned from Warner's error and Lawver'south persuasive statement of the Potter Wars: fans are "a function of your marketing upkeep that yous don't have to pay for". Thus lighter control of content use allows fans to share their cribbing of content while promoting it complimentary. Everyone wins.
Communities [edit]
Lessig's 3rd category lacks the 'spaces' qualification of the previous two because they create a community on a much grander, or more comprehensive scale. One such customs is Second Life through which users can immerse themselves in a virtual environment and build a multi-faceted life not unlike existent life but without the same limitations, while creating value past producing and sharing new codes for the program.
Lessig concludes that a feeling of ownership and contribution is vital to making hybrid communities function. These communities are not built on sacrifice but on mutual satisfaction in which both the consumer and producer benefit.
Parallel economies can coexist, the writer insists, and are not mutually exclusive. In fact, crossover is not uncommon, particularly in the world of the Artistic Eatables which Lessig helped constitute. Many artists that have initially licensed their piece of work under a CC license, that allowed others to share and remix their work as long equally they were credited, have used the momentum from this visibility to crossover to the commercial economy.
Lessig warns that hybrid economies will do well to avoid what he calls sharecropping, that is corporations forcing the remixer to give up the right to his/her cosmos (providing they don't own the rights to all/some of its components) even if they plan to utilise their work for commercial purposes.
The hybrid that respects the rights of the creator - both the original creator and the remixer - is more than likely to survive than the i that doesn't. [18]
Reforming copyright law [edit]
Lessig outlines five steps that volition put us on the path towards more efficient and sound copyright law.
- Deregulating Amateur Activeness. Primarily this means exempting noncommercial and, particularly amateur, use from the rights granted by copyright. In addition, this loosening of control will, in turn, remove some of the burden from the corporations' monitoring for misuse of their content.
- Articulate Title. Equally of now, at that place is no comprehensive and accessible registry that lists who owns rights to what. In addition to making the above clear, Lessig insists that author/possessor should have to register their work in society to extend the copyright after a shorter menstruation of time and for the work, otherwise, to enter public domain. He insists that this change would exist instrumental to digital archiving and admission for educational purposes.
- Simplify. Building on his previous suggestions, Lessig insists that the arrangement should be simplified. If a kid is expected to comply with copyright constabulary, they should exist able to understand it.
- Decriminalizing the Copy. Equally mentioned earlier the product of the 'copy' is a commonplace in daily transaction within the digital realm. If our daily activeness triggers federal regulation on copyright police force, it ways that this regulation reaches too far. Thus the law must exist rearticulated as to not include uses that are irrelevant to copyright owner's command.
- Decriminalizing File Sharing. Lessig suggests this should be washed either by "authorizing at least noncommercial file sharing with taxes to cover a reasonable royalty to the artists whose piece of work is shared, or past authorizing a simple blanket licensing procedure, whereby users could, for a low fee, buy the right to freely file-share" [19]
Decision [edit]
In his final chapter "Reforming U.s.", Lessig insists that in lodge to motility towards ending the senseless copyright wars, which are more often than not harming our children, we must empathize that governmental control has its limits.
The children growing up in a digital age are seeing these laws every bit senseless and corrupt and, more importantly, trivial equally they continue to remix and download despite information technology. Lessig warns that this miracle can have a larger trickle-down effect towards a child's view of law in general. When put in this light, copyright reform carries much larger implications for the morality of the digital age generations.
Aside from morality of the generation, Lessig asserts that due to legislation beingness either too passive or also stern information technology creates the lack of understanding from policy makers.[20] This exclamation leads to the true meaning of [[w:fair utilise| fair utilise]].
In popular civilization [edit]
On an episode of The Colbert Report with Lessig as a guest, Stephen Colbert made fun of the book's status under Creative Commons by taking a copy, signing it, and so proclaiming it the 'Colbert' edition for sale. Lessig laughed.[21]
Run into as well [edit]
- Remix Culture
- An Army of Davids
- Gratis Culture
References [edit]
- ^ Download Lessig's Remix, Then Remix It on wired.com (May 2005)
- ^ Remix on lessig.org
- ^ remix on Bloomsbury Academic (2008, archived)
- ^ "Remix by Lawrence Lessig". Cyberspace Annal. Retrieved 2009-05-09 .
CC BY-NC-ND
- ^ Lessig, Lawrence. 2008. Remix: making fine art and commerce thrive in the hybrid economic system. New York: Penguin Press. p. 71
- ^ Remix on remix.lessig.org
- ^ Remix Archived 2016-04-02 at the Wayback Automobile on scribd.com
- ^ Eric Hellman (2011-10-12). "The Clawback of @lessig's "Remix"".
- ^ Lessig, Lawrence (2008). Remix: Making Fine art and Commerce Thrive in a Hybrid Economy (1 ed.). Penguin Press. p. 177. Retrieved 6 November 2019.
- ^ a b Michele, Knobel; Colin, Lankshear. "Remix: the art and craft of endless hybridization: digital remix provides an educationally useful lens on culture and cultural production as well equally on literacy and literacy education" (PDF). blogs.ubc.ca. International Reading Association. Retrieved November 13, 2019.
- ^ Lessig, Lawrence. "The Internet Under Siege". Galileo . Retrieved November 9, 2019.
- ^ Lessig, Lawrence. "The Net Under Siege". Galileo . Retrieved November 10, 2019.
- ^ Lessig, Lawrence (2008). Remix: Making Art and Commerce Thrive in a Hybrid Economic system (1 ed.). Penguin Printing. p. 177. Retrieved nine Nov 2019.
- ^ Courtois, Cédric; Mechant, Peter; De Marez, Lieven (March 2012). "Communicating Creativity on YouTube: What and for Whom?". Cyberpsychology, Behavior, and Social Networking. 15 (3): 129–134. doi:10.1089/cyber.2011.0401. hdl:1854/LU-1920104. ISSN 2152-2715. PMID 22304403.
- ^ "A Win For Fair Apply After Record Label, Copyright Lawyer Settle". NPR.org . Retrieved 2019-12-04 .
- ^ Collins, Steve (2014-05-04). "YouTube and limitations of fair use in remix videos". Journal of Media Exercise. 15 (2): 92–106. doi:ten.1080/14682753.2014.960764. ISSN 1468-2753.
- ^ Lessig, Lawrence. 2008. Remix: making fine art and commerce thrive in the hybrid economic system. New York: Penguin Press. p. 74
- ^ Lessig, Lawrence. 2008. Remix: making fine art and commerce thrive in the hybrid economic system. New York: Penguin Press.
- ^ Lessig, Lawrence. 2008. Remix: making art and commerce thrive in the hybrid economic system. New York: Penguin Press. p. 271
- ^ Lessig, Lawrence (March 2007), Laws that Choke Creativity , retrieved 2019-10-27
- ^ "The Colbert Report with Lawrence Lessig". colbertnation.com. 2009-01-09.
External links [edit]
- Official site
- Creative Eatables
- Volume sources: ISBN 1-59420-172-ii
- Remix downloads on Archive.org
- Lessig'due south article "Copyright and Politics Don't Mix", October 21, 2008 in The New York Times
- Book give-and-take with Lessig on Remix, November 18, 2008 on c-span.org
Source: https://en.wikipedia.org/wiki/Remix_(book)
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