Free Culture: The Nature and Future of Creativity [Bargain Price] [Paperback]

Lawrence Lessig (Author)

Book Description

Publication Date: February 22, 2005

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 can’t 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.

--This text refers to the Mass Market Paperback edition.

Editorial Reviews

From Publishers Weekly

From Stanford law professor Lessig (Code; The Future of Ideas) comes this expertly argued, alarming and surprisingly entertaining look at the current copyright wars. Copyright law in the digital age has become a hot topic, thanks to millions of music downloaders and the controversial, high-profile legal efforts of the music industry to stop them. Here Lessig argues that copyright as designed by the Framers has become dangerously unbalanced, favoring the interests of corporate giants over the interests of citizens and would-be innovators. In clear, well-paced prose, Lessig illustrates how corporations attempt to stifle innovations, from FM radio and the instant camera to peer-to-peer technology. He debunks the myth that draconian new copyright enforcement is needed to combat the entertainment industry's expanded definition of piracy, and chillingly assesses the direct and collateral damage of the copyright war. Information technology student Jesse Jordan, for example, was forced to hand over his life savings to settle a lawsuit brought by the music industry—for merely fixing a glitch in an Internet search engine. Lessig also offers a very personal look into his failed Supreme Court bid to overturn the Copyright Term Extension Act, a law that added 20 years to copyright protections largely to protect Mickey Mouse from the public domain. In addition to offering a brilliant argument, Lessig also suggests a few solutions, including the Creative Commons licensing venture (an online licensing venture that streamlines the rights process for creators), as well as legislative solutions. This is an important book. "Free Cultures are cultures that leave a great deal open for others to build upon," he writes. "Ours was a free culture. It is becoming less so."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

From Booklist

Lessig looks at the disturbing legal and commercial trends that threaten to curb the incredible creative potential of the Internet. All innovations are derived from a certain amount of "piracy" of preceding innovations, Lessig argues, and he presents a catalog of technological breakthroughs in film, music, and television as illustrations. Drawing on distinctions between piracy that benefits a single user and harms the owner and piracy that is useful in advancing new content or new ways of doing business, Lessig strongly argues for a balance between the interests of the owner and broader society so that we can continue a "free culture" that encourages innovation rather than a "permission culture" that does not. He reviews an array of legal actions, including the restrictions on peer-to-peer sharing made famous by Napster, and the threat they represent to the kind of openness the law has traditionally allowed and from which the marketplace has benefited. This is a highly accessible and enlightening look at the intersection of commerce, the law, and cyberspace. Vanessa Bush
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 368 pages
• Publisher: Penguin Books; Trade Paperback Edition edition (February 22, 2005)
• ISBN-10: 0143034650
• ASIN: B000BNPG46
• Product Dimensions: 7.7 x 4.8 x 0.8 inches
• Shipping Weight: 5.6 ounces
• Average Customer Review: 4.4 out of 5 stars  See all reviews (43 customer reviews)
• Amazon Best Sellers Rank: #2,035,080 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

27 of 27 people found the following review helpful:

5.0 out of 5 stars today's content owners are yesterday's pirates, July 5, 2006

By 

James J. Lippard "skeptic" (Phoenix, AZ USA) - See all my reviews
(REAL NAME)   

This review is from: Free Culture: The Nature and Future of Creativity (Mass Market Paperback)

Lessig has written a very clear and entertaining book about copyright, piracy, and culture, filled with lots of real-world examples to make his points. The book covers major events in the history of copyright in the United States (from its beginnings in English common law and the UK Statute of Anne) in order to show how its meaning has changed, and how those who are making accusations of piracy today were the pirates of yesterday. (Jessica Littman's book, Digital Copyright, is a nice complement to this book, covering the history of copyright in greater depth.) Lessig makes a strong case that the direction of copyright, giving greater control over content to a very small number of owners than has ever existed, is eroding the freedom that we've historically had to preserve and transform the elements of our culture.

Lessig begins by describing how the notion of a real property right for land extending into the sky to "an indefinite extent, upwards" became a real rather than theoretical issue with the invention of the airplane. In 1945, the Causbys, a family of North Carolina farmers, filed a suit against the government for trespassing with its low-flying planes, and the Supreme Court declared the airways to be public space. This example shows how the scope of property rights can change with changes of technology, in this particular case resulting in an uncompensated taking from private property owners, yet leading to enormous innovation and the development of a new industry and form of transportation. He follows this with the example of the development of FM radio, which was intentionally back-burnered by RCA and then hobbled by government regulation at RCA's behest in order to protect its existing investment in AM radio. This example shows how powerful interests can stifle technological change through its ownership of intellectual property (in this case, the patents regarding FM radio).

He then discusses how intellectual property laws have developed in the U.S., pointing out that Walt Disney's Mickey Mouse made his talking picture debut in the movie "Steamboat Willie" (he had earlier appeared in a silent cartoon, "Plane Crazy"), which was a parody of Buster Keaton's "Steamboat Bill." Many of Disney's characters and stories were taken directly from the previous work of others, such as the Brothers Grimm--works in the public domain, freely available for such copying. As new forms of media have been created, they have borrowed from previous forms. Today, however, the creators of content who have borrowed from their predecessors have successfully changed the rules so that their successors cannot borrow from them, both by extending the term and scope of copyright protection and by developing technologies that have greatly reduced the ability of successors to borrow or re-use content. The specific rules are completely inconsistent, based on the political power of the relevant parties at the time the laws were changed. When Edison developed the ability to record sounds, including recording music written by others, copyright law was changed to provide for compulsory licensing for a fee paid to the composer. With radio broadcasting, the fee still goes to the composer, but not to the recording artist. But put that same radio broadcast on the Internet, and now fees must be paid to both the composer and the recording artist.

Where there used to be a sea of unregulated uses of copyrighted material containing a small island of restricted uses (with shores of fair use), there is now a vast continent of restricted uses, a stark cliff of fair use, and a tiny channel of unregulated uses. Lessig shows a table on pp. 170-171 showing commercial and noncommercial uses and the rights to publish and transform for each. In 1790, copyright only governed publication rights for commercial uses, the other three cells of the table being free. At the end of the 19th century, publication and transformation for commercial use was governed by copyright, while noncommercial use was free. The law was changed to govern copies, including much noncommercial use. Today, all four cells of the table are governed by copyright.

Lessig discusses Eric Eldred's attempt to defend the right to transform public domain works into electronic versions by fighting Congress's continuing extensions of the term of copyright in the face of the Constitution's restriction to "limited Times," and how the case was lost at the U.S. Supreme Court to inconsistent reasoning from the conservative justices who failed to even address the commerce clause argument and the precedent they set in Lopez v. Morrison case. This is a wonderfully written, persuasive, entertaining, and dismaying book. It deserves to be widely read and understood, so that ultimately intellectual property law in the U.S. will be reformed.

[...]

57 of 63 people found the following review helpful:

5.0 out of 5 stars Ten million reasons why copyright should be reformed, May 16, 2004

By 

Jerry Brito (Washington, DC USA) - See all my reviews
(VINE VOICE)   

This review is from: Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (Hardcover)

Lawrence Lessig's "Free Culture" is nothing short of brilliant. It outlines an incredibly important modern problem that is lost under the noise of more pressing concerns like the war in Iraq or corporate scandals. That problem is the loss of our culture at the hands of intellectual property law. And what that problem lacks in immediacy and prime-time-worthy sex appeal, it makes up in long-term consequences.

Lessig does a formidable job of making the issue come alive for both experts and laymen with his use of anecdotes that clearly illustrate how the ever-growing term and scope of copyright have stifled creativity and shrunken the portion of our culture in the public domain. He shows how the content industry is trying to redefine IP as the equivalent of tangible property, when it is not and has never been, and how that industry has manipulated Congress and the Courts to get closer to its goal.

If you followed the Eldred v. Ashcroft case (like I did; I was lucky to be at oral argument before the Supremes), you'll want to pick up this book for Lessig's inside account. Most of it is a mea culpa for not realizing that the Court didn't want a constitutional argument, but a consequentialist one. I'm not sure this would have made a difference. The Court's right, who, like Lessig, I thought would chime in for a strict reading of what is clear language of "limited times" in the Copyright Clause, must have had some special reason for turning their backs on their originalist rhetoric and I doubt that a political argument would have changed their minds. I still can't understand what that reason might be, and I refuse to believe it's just the dead hand of stare decisis that gave Scalia pause. Lessig is obviously very upset at that Justice; while he does mention having clerked for Judge Posner, Lessig doesn't mention in his bio (neither in the dust jacket nor the back pages of the book) that he clerked for Scalia in 1990-91.

One curious thing about the book is that throughout it Lessig implies that he is a leftist and that the ideas he is advocating are leftist. He patronizingly writes at a couple of points that he would be surprised if a person on the right had read that far. I think he is selling himself-and conservative readers-short. In fact, there is very little in the book incompatible with a conservative or libertarian free-market viewpoint. Private interests using the power of the state to distort the market and quash their competitors, and an originalist Jeffersonian interpretation of the Constitution as the response are very conservative themes indeed.

But it's not all agreement. I, like most free marketeers, will object to parts of Free Culture. Foremost among them are Lessig's concerns about media concentration. The fact is that there are more options today in television and radio than 20 years ago, and the the explosion of Internet sites and blogs, which Lessig spends most of the book lauding, belies the idea that news can be controlled. And it is interesting that Lessig seems to understand this. He says that he has seen concentration only as market efficiency in action, and that only recently has he 'begun to change his mind'. His skepticism is reflected in the fact that he only dedicated a small section (7 pages) to the issue. Another point of contention will be some of the solutions he proposes. While I applaud the idea of shorter terms that must be renewed with payment of a token fee, compulsory licensing and fees paid out by the government out of general revenues is beyond the pail. Won't such mechanisms be ripe for corporate manipulation as well?

Still, small quibbles aside, this book beautifully puts the IP issue in perspective. Everyone is touched by copyright whether they know it or not. This book shows us how the future of our culture is a dark one unless we change course soon.

20 of 20 people found the following review helpful:

5.0 out of 5 stars Inspiring !, February 2, 2005

By 

Dominic Hui (Hong Kong) - See all my reviews

This review is from: Free Culture: The Nature and Future of Creativity (Mass Market Paperback)

Discussing law is always a challenge to an author, especially if he/she wishes to make it simple, interesting, and critical. This book is not a book for academics, it is a book for the people who support the tradition of freedom of speech and liberty in our culture. This book is simple, interesting and critical : simple in the sense that one with no legal background can understand it (but at the same time, Professor Lessig's argument is compelling); interesting in the sense that Professor Lessig has great sense of humour in explaining the present situation; critical, needless to say, Professor Lessig is well-known of his role in the litigation regarding the legitimacy of the extension of the copyright term at the Supreme Court.
This book is recommended for all, and is a must for all law students and lawyers.