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On the heels of the Grokster case, Lessig explains that he is not for file-sharing, but that it is a distribution system that needs to be protected because of its potential to encourage and make easier a culture around remixing.

*On the Grokster case: "…if you make the courts the arbiter of whether a technology should be allowed or not, then the courts become a tool, a weapon to be used in the marketplace."

*The purpose of Creative Commons is to create "…a norm around people being free to remix and build upon, to sample out of, to supplement, to criticize content that otherwise."

*Argues that freer licenses under Creative Commons are economic incentives that can drive development – discusses the case of Brazil at length.

*Discusses how young people today think about writing in different ways, ways that are increasingly based not on text but on video and sounds, this makes freeing up the culture around image ownership and licensing all the more relevant and necessary.

belongs to Remixing and Mash-ups, additional resources project
tagged copyright lessig mash-up remix by aymar ...on 09-APR-09
"Copyright and Politics Don't Mix." New York Times [0362-4331] (2008). 29-.

In this Op-Ed in the New York Times, Lessig discusses fair use and political speech. He argues that copyright law should be limited to it's intended purpose, "encouraging innovation and ensuring that artists get paid for their work," and should not interract with politics. Lessig praises the McCain campaign for criticizing YouTube's decision to remove a video that is ''clearly privileged under the fair use doctrine'' because he feels that claiming copyright infringement on political speech constitutes censorship and violates the First Amendment's protection of free speech. Political campaigns do not seek "first to the market advantages" and their use of copyrighted materials does not harm the rights' owner. Rather, calling such political speech copyright infringement hurts the effectiveness of a political campaign. Lessig believes that while copyright laws are necessary in Hollywood to encourage continued innovation and progress, their presence in political campaigns, where they are unnecessary, will ultimatelty harm the legitimate claims of musicians and film studios.

Lessig's article is clearly relevant to the question of copyright's role in serving the public interest, as politics is an integral part of government affairs. It directly answers the question "does copyright hinder free speech?" with a clear yes, which indirectly also answers yes to "does copyright harm the public interest?" There must be a delicate balance of copyright laws with the First Amendment in order to not infringe upon constitutional rights, and Lessig loudly argues that in political campaigns, copyright laws cross this line and censor political speech, thus encroaching upon the First Amendment. When these rights are infringed upon and the public is restricted from hearing such speech which delivers information pertinent to an election campaign, the public interest is no longer protected. Lessig argues that although fair use will usually protect political speech, if it does not, copyright laws should not apply because they do more harm than good. In the larger context, harming the distribution of important information during a campaign certainly hurts the public interest.
belongs to Copyright and the Public Interest project
tagged censorship copyright fair_use lessig by amyiw ...on 22-NOV-08
In this work, Lessig describes how the architecture of the internet was designed to foster creation and innovation, and how recent changes in the law and behavior of the internet are serving to stifle the very creation that has flourished on the internet.
A nine minute student documentary of the Free Culture New York Summit held at Columbia University, January 2006. The film explores a new form of student activism, based primarily on and about the Internet. Beginning with the Free Culture demonstration at the Times Square Virgin Megastore, the documentary covers Free Culture members out to educate consumers on alternative forms of music distribution online (archive.org, ccmixter.org, blogs, etc). It continues the discussion with interviews featuring conference participants (Cory Doctorow, Creative Commons, Free Culture students activists). Finally, using cc licenses for distribution and production, the film acts as an example for other young student filmmakers who are interested in alternative copyright licensing.