Lessig » REMIX http://www.lessig.org Blog, news, books Sat, 12 Nov 2016 16:31:06 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.2 RIP! in Minneapolis — May 28. http://www.lessig.org/2009/05/rip-in-minneapolis-may-28/ http://www.lessig.org/2009/05/rip-in-minneapolis-may-28/#comments Wed, 27 May 2009 16:07:42 +0000 http://lessig.org/blog/2009/05/rip_in_minneapolis_-_may_28.html RIP!: A Remix Manifesto screening:
Sound Unseen in Minneapolis screens RIP! Date May 28, 2009 Time 8:00 PM Venue The TRYLON screening room Location 2820 E 33rd St, Minneapolis, MN, 55406 Event Type Open to the Public Ticket Price $5 Venue Capacity 60 (Small venue, buying tix in advance recommended!) Event Website http://soundunseen.com In RiP: A Remix Manifesto, web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers. The film's central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? "About as edgy and fascinating a glimpse you'll get of one of the more pressing issues of our Internet Age." .....Montreal Gazette.
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From the latest RIP!: A Remix Manifesto screening:
Sound Unseen in Minneapolis screens RIP!
Date May 28, 2009
Time 8:00 PM
Venue The TRYLON screening room
Location 2820 E 33rd St, Minneapolis, MN, 55406

Event Type Open to the Public
Ticket Price $5
Venue Capacity 60 (Small venue, buying tix in advance recommended!)
Event Website http://soundunseen.com
In RiP: A Remix Manifesto, web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers.
The film’s central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy?

“About as edgy and fascinating a glimpse you’ll get of one of the more pressing issues of our Internet Age.” …..Montreal Gazette.

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Remix Culture: (They say) Fair Use is Your Friend http://www.lessig.org/2009/05/remix-culture-they-say-fair-us/ http://www.lessig.org/2009/05/remix-culture-they-say-fair-us/#comments Tue, 19 May 2009 05:17:47 +0000 http://lessig.org/blog/2009/05/remix_culture_they_say_fair_us.html The great folks at American University have a great video about "fair use" and remix. ]]>

The great folks at American University have a great video about “fair use” and remix.

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from the enough-about-you department http://www.lessig.org/2009/05/from-the-enough-about-you-depa/ http://www.lessig.org/2009/05/from-the-enough-about-you-depa/#comments Mon, 04 May 2009 15:40:12 +0000 http://lessig.org/blog/2009/05/from_the_enough-about-you_depa.html
rip_remix.jpg
So a bit sheepishly (as I'm in this film and really fat) (and I mean fat, not phat), let me push a favorite film by Brett Gaylor, RIP: A Remix Manifesto. The film is fantastic. Gillis (aka, GirlTalk) is amazing. And the technical execution (of course, the substance was a given for me) is extraordinary. If nothing else, remix the film (which you can at Brett's OpenSourceCinema). You can go to a screening, or host a screening, or buy a copy of this (CC-BY-NC) film on iTunes ($9.99), or pay whatever price you want at B-Side, or if you get it through the darknet, donate whatever you can to the company that made the film. This is a rare filmmaker who practices what his film preaches. It is also a rare filmmaker who takes the time (and this took years) to understand a story well. Listen, and spread the word. Read more in this great Wired piece. And thank you, Brett. ]]>
rip_remix.jpg

So a bit sheepishly (as I’m in this film and really fat) (and I mean fat, not phat), let me push a favorite film by Brett Gaylor, RIP: A Remix Manifesto. The film is fantastic. Gillis (aka, GirlTalk) is amazing. And the technical execution (of course, the substance was a given for me) is extraordinary. If nothing else, remix the film (which you can at Brett’s OpenSourceCinema).

You can go to a screening, or host a screening, or buy a copy of this (CC-BY-NC) film on iTunes ($9.99), or pay whatever price you want at B-Side, or if you get it through the darknet, donate whatever you can to the company that made the film.

This is a rare filmmaker who practices what his film preaches. It is also a rare filmmaker who takes the time (and this took years) to understand a story well. Listen, and spread the word.

Read more in this great Wired piece. And thank you, Brett.

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JZ’s review of REMIX http://www.lessig.org/2009/02/jzs-review-of-remix/ http://www.lessig.org/2009/02/jzs-review-of-remix/#comments Wed, 04 Feb 2009 12:47:11 +0000 http://lessig.org/blog/2009/02/jzs_review_of_remix.html review of REMIX in Nature. Note, the UK edition of REMIX is published by Bloomsbury Academic, not Penguin. And Bloomsbury Academic will be releasing the work under a CC license. ]]> Zittrain’s got a very smart (if I don’t say so myself) review of REMIX in Nature. Note, the UK edition of REMIX is published by Bloomsbury Academic, not Penguin. And Bloomsbury Academic will be releasing the work under a CC license.

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from the cool-stuff-I-don’t-do(much of)-anymore department http://www.lessig.org/2009/02/from-the-cool-stuff-i-dont-dom/ http://www.lessig.org/2009/02/from-the-cool-stuff-i-dont-dom/#comments Wed, 04 Feb 2009 12:11:08 +0000 http://lessig.org/blog/2009/02/from_the_cool-stuff-i-dont-dom.html This conference at Moritz College of Law in Columbus, OH is one of the best mixes for remix I've seen. Conference page is here. ]]>

This conference at Moritz College of Law in Columbus, OH is one of the best mixes for remix I’ve seen. Conference page is here.

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Colbert is mad http://www.lessig.org/2009/01/colbert-is-mad/ http://www.lessig.org/2009/01/colbert-is-mad/#comments Thu, 22 Jan 2009 11:44:26 +0000 http://lessig.org/blog/2009/01/colbert_is_mad.html ]]>

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The final REMIX reading http://www.lessig.org/2009/01/the-final-remix-reading/ http://www.lessig.org/2009/01/the-final-remix-reading/#comments Mon, 12 Jan 2009 19:57:35 +0000 http://lessig.org/blog/2009/01/the_final_remix_reading.html REMIX reading will be Wednesday, 14 January, at 7:30pm, at Booksmith - 1644 Haight Street, San Francisco, CA 94117 (map). And as I've got no more books coming out before the summer, that means this will be the final book reading in San Francisco as well. To celebrate the sadness, I'll be giving away the swag I got at the Colbert Report. Plus 10 (fake) Colbert campaign posters that I tried to ambush Colbert with. So come. Bring your office. And your grandmother. And anyone else you find on the street. ]]> Ok, San Francisco, sadly, I report: the final REMIX reading will be Wednesday, 14 January, at 7:30pm, at Booksmith – 1644 Haight Street, San Francisco, CA 94117 (map). And as I’ve got no more books coming out before the summer, that means this will be the final book reading in San Francisco as well.

To celebrate the sadness, I’ll be giving away the swag I got at the Colbert Report. Plus 10 (fake) Colbert campaign posters that I tried to ambush Colbert with.

So come. Bring your office. And your grandmother. And anyone else you find on the street.

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let the remixes continue http://www.lessig.org/2009/01/let-the-remixes-continue/ http://www.lessig.org/2009/01/let-the-remixes-continue/#comments Mon, 12 Jan 2009 12:15:44 +0000 http://lessig.org/blog/2009/01/let_the_remixes_continue.html my first blog entry about the show. Then ccMixter -- Creative Commons fantastic remix site, that allows you to track who remixed what -- launched a remix thread. You can see those here. Then this morning I saw the link to the IndabaMusic site, which is running a contest around the clip. There are now about 20 remixes available, and more than 100 in the works. You can see those here. All of the remixes in the ccMixter/IndabaMusic domains are CC licensed. The source, again, is my segment (the portion of the Colbert Report in which I am a joint copyright owner.) As that is CC-BY, anyone is free for any purpose (save endorsement purposes) to use it as you wish. ]]> So here’s an update on the Remix COLBERT/lessig project.

As I first reported, after the event, I was sent some very cool remixes. They’re available in my first blog entry about the show.

Then ccMixter — Creative Commons fantastic remix site, that allows you to track who remixed what — launched a remix thread. You can see those here.

Then this morning I saw the link to the IndabaMusic site, which is running a contest around the clip. There are now about 20 remixes available, and more than 100 in the works. You can see those here.

All of the remixes in the ccMixter/IndabaMusic domains are CC licensed. The source, again, is my segment (the portion of the Colbert Report in which I am a joint copyright owner.) As that is CC-BY, anyone is free for any purpose (save endorsement purposes) to use it as you wish.

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let the remixes begin (UPDATED) http://www.lessig.org/2009/01/let-the-remixes-begin/ http://www.lessig.org/2009/01/let-the-remixes-begin/#comments Sat, 10 Jan 2009 01:32:33 +0000 http://lessig.org/blog/2009/01/let_the_remixes_begin.html UPDATE Here's the original segment.
Sam did the first remix of my Colbert appearance. Jim Vanaria did another. This is the first video remix I've seen. Here's a remix from the Eclectic Method Mix. And the audio to the show is available to be remixed on ccMixter here. Colbert says (or more accurately, "says") you can't remix this. I say please do. ]]>
UPDATE

Here’s the original segment.


Sam did the first remix of my Colbert appearance.

Jim Vanaria did another.

This is the first video remix I’ve seen.

Here’s a remix from the Eclectic Method Mix.

And the audio to the show is available to be remixed on ccMixter here.

Colbert says (or more accurately, “says”) you can’t remix this. I say please do.

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Please come: REMIX: Reading http://www.lessig.org/2008/12/please-come-remix-reading/ http://www.lessig.org/2008/12/please-come-remix-reading/#comments Thu, 04 Dec 2008 02:16:18 +0000 http://lessig.org/blog/2008/12/please_come_remix_reading.html here's a map) Thursday at 7pm, can you please please please come? Or send your Mom? Or younger brother? Or younger brother's math class? And if you can't do that, but have read the book, then can you at least write a review of the book at Amazon? Two people have written. One decent enough (though he didn't like the book). The second who gave the book one star because he didn't like me on Charlie Rose (I kid you not.) ]]> The toughest gig when releasing a book is bookstore events. At least when you’re no one, no one is ever there. So if ANYONE here is near the Barnes & Noble in Hillsdale (here’s a map) Thursday at 7pm, can you please please please come? Or send your Mom? Or younger brother? Or younger brother’s math class?

And if you can’t do that, but have read the book, then can you at least write a review of the book at Amazon? Two people have written. One decent enough (though he didn’t like the book). The second who gave the book one star because he didn’t like me on Charlie Rose (I kid you not.)

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me@charlie rose http://www.lessig.org/2008/11/mecharlie-rose/ http://www.lessig.org/2008/11/mecharlie-rose/#comments Sat, 22 Nov 2008 16:48:16 +0000 http://lessig.org/blog/2008/11/mecharlie_rose.html Selected excerpts (and past shows) here. ]]>

Selected excerpts (and past shows) here.

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Remix book party video http://www.lessig.org/2008/10/remix-book-party-video/ http://www.lessig.org/2008/10/remix-book-party-video/#comments Fri, 31 Oct 2008 05:43:21 +0000 http://lessig.org/blog/2008/10/remix_book_party_video.html Robert Greenwald and friends put together this extraordinary video for the extraordinary REMIX book launch party in San Francisco, obviously with the intent to demonstrate just how remix can be an extraordinary distortion, because obviously, I don't use the word "extraordinary" so frequently. ]]>

Robert Greenwald and friends put together this extraordinary video for the extraordinary REMIX book launch party in San Francisco, obviously with the intent to demonstrate just how remix can be an extraordinary distortion, because obviously, I don’t use the word “extraordinary” so frequently.

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Girl Talk Shout Out for REMIX http://www.lessig.org/2008/10/girl-talk-shout-out-for-remix/ http://www.lessig.org/2008/10/girl-talk-shout-out-for-remix/#comments Fri, 31 Oct 2008 03:52:54 +0000 http://lessig.org/blog/2008/10/girl_talk_shout_out_for_remix.html ]]>

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Remix: What’s New http://www.lessig.org/2008/10/remix-whats-new/ http://www.lessig.org/2008/10/remix-whats-new/#comments Sat, 25 Oct 2008 10:13:35 +0000 http://lessig.org/blog/2008/10/remix_whats_new.html asks for a review of his review. I'll reply to one part: the suggestion that the work is "a derivative essay that rehashes a lot of his older work." That would be true if the book were, as he describes it, about "curtailing creativity, innovation, and even some of our most basic freedoms." But that's Free Culture, not REMIX. As I describe in the preface to this REMIX:
"In the past, I’ve tried to advance this view for peace by focusing on the costs of this war to innovation, to creativity, and, ultimately, to freedom. My aim in The Future of Ideas was to defend industries that never get born for fear of the insane liability that the current regime of copyright imposes. My subject in Free Culture was the forms of creative expression and freedom that get trampled by the extremism of defending a regime of copyright built for a radically different technological age. But I finished Free Culture just as my first child was born. And in the four years since, my focus, or fears, about this war have changed. I don’t doubt the concerns I had about innovation, creativity, and freedom. But they don’t keep me awake anymore. Now I worry about the effect this war is having upon our kids. What is this war doing to them? Whom is it making them? How is it changing how they think about normal, right-thinking behavior? What does it mean to a society when a whole generation is raised as criminals?"
This wasn't a focus in Free Culture. It was a passing thought. It is now the frame for REMIX, the motivation for trying to place in the center the good that this net might offer, as a bribe to get policy makers (aka, citizens) to stop this hopeless war, and sue for peace. That's one focus (and new) at the core of the book. The second is the idea of "remix." REMIX, unlike Free Culture, is focused on a particular kind of creativity. I hadn't recognized, or even thought carefully, about this creativity when I wrote Free Culture. But the Sousa quote I've referred to again and again (railing against "talking machines," he observes "we will not have a vocal cord left. The vocal cords will be eliminated by a process of evolution was was the tail of man when he came from the ape.") got me to think about the importance of "democratic creativity" -- meaning a kind of creativity that ordinary people engage just like the professionals. This focus on the amateur vs. the professional of course is a theme of others -- Benkler, most importantly. But I liked the way it explained something about how creativity was different in he 20th century from every other century, including the 21st. The third idea in REMIX is the one Spencer's review focuses on -- the emergence of what I call the "hybrid" -- and here Spencer has nice words.
Although this section borrows heavily from the work of others, including The Long Tail by Chris Anderson and Wikinomics by Don Tapscott and Anthony Williams, Lessig breaks new ground.
That passage made me happy. Because I was inspired by Chris and Don/Anthony (and Benkler). But I am happy that even in an otherwise critical review, it's clear that this part "breaks new ground." These are three ideas, or frames, that move REMIX beyond Free Culture. Different points, not "rehashing" of old. Is it "derivative"? Well, of course, it is the thought that I currently have about a subject I've been working on for a decade, deriving from thoughts I had before. But I had thought — I had hoped — the new added something to the old. These three things frame the new. Finally, Spencer criticizes my 35 pages of prescription at the end.
Most annoying, he devotes only the last 35 pages of the book to his reform plan, and some of those ideas are not even that new.
Better, he suggests, would have been if I had "used Remix to tell the story of his Creative Commons." I'll leave it to others to tell the story of Creative Commons. Understanding requires a less self-interested source. But I'm not sure I get what's "annoying" about the 35 pages. I'm not sure how "new" the suggestions are. I'm more concerned with whether they're true. Spencer seems upset that he has heard versions of them before (because the proposals I advance in fact are not the proposals I had advanced before). I guess I'm not convinced of the fairness of that annoyance. This is a second book on the culture issues. The things I believed in book one I still believe in book two. Sure, it would have been more interesting had I come to believe completely different things. ("Wait a minute -- Valenti is right. What was I thinking!") But I didn't. I still think the copyright system regulates too much. I still believe social resources should be devoted differently. I believe even more now in the "humility" that law needs. Though there are things that remain the same, I wrote Remix because the work of many others had helped me see important parts of this debate differently. Most importantly, the good, the optimistic, the promising parts. Remix and hybrids: they give us yet another reason to end this war. But enough. Spencer's a good soul. He's written well for Businessweek, and while I'm just midway through his book, Creative Capital, I'm sure I'll have nicer things to say about his than he about mine. I've said this book was essentially finished a year ago. I've moved on to different work. So "you won't have [Free Culture Lessig] to kick around any more, gentlemen, because this is my last [free culture book]." (And see, if I were 15, and had any real talent, I would have taken Nixon's press conference, superimposed my face on Nixon's, added some Gil or NIN music, or whatever.)]]>
Spencer asks for a review of his review. I’ll reply to one part: the suggestion that the work is “a derivative essay that rehashes a lot of his older work.” That would be true if the book were, as he describes it, about “curtailing creativity, innovation, and even some of our most basic freedoms.” But that’s Free Culture, not REMIX. As I describe in the preface to this REMIX:
“In the past, I’ve tried to advance this view for peace by focusing on the costs of this war to innovation, to creativity, and, ultimately, to freedom. My aim in The Future of Ideas was to defend industries that never get born for fear of the insane liability that the current regime of copyright imposes. My subject in Free Culture was the forms of creative expression and freedom that get trampled by the extremism of defending a regime of copyright built for a radically different technological age.

But I finished Free Culture just as my first child was born. And in the four years since, my focus, or fears, about this war have changed. I don’t doubt the concerns I had about innovation, creativity, and freedom. But they don’t keep me awake anymore. Now I worry about the effect this war is having upon our kids. What is this war doing to them? Whom is it making them? How is it changing how they think about normal, right-thinking behavior? What does it mean to a society when a whole generation is raised as criminals?”

This wasn’t a focus in Free Culture. It was a passing thought. It is now the frame for REMIX, the motivation for trying to place in the center the good that this net might offer, as a bribe to get policy makers (aka, citizens) to stop this hopeless war, and sue for peace.

That’s one focus (and new) at the core of the book. The second is the idea of “remix.” REMIX, unlike Free Culture, is focused on a particular kind of creativity. I hadn’t recognized, or even thought carefully, about this creativity when I wrote Free Culture. But the Sousa quote I’ve referred to again and again (railing against “talking machines,” he observes “we will not have a vocal cord left. The vocal cords will be eliminated by a process of evolution was was the tail of man when he came from the ape.”) got me to think about the importance of “democratic creativity” — meaning a kind of creativity that ordinary people engage just like the professionals. This focus on the amateur vs. the professional of course is a theme of others — Benkler, most importantly. But I liked the way it explained something about how creativity was different in he 20th century from every other century, including the 21st.

The third idea in REMIX is the one Spencer’s review focuses on — the emergence of what I call the “hybrid” — and here Spencer has nice words.

Although this section borrows heavily from the work of others, including The Long Tail by Chris Anderson and Wikinomics by Don Tapscott and Anthony Williams, Lessig breaks new ground.

That passage made me happy. Because I was inspired by Chris and Don/Anthony (and Benkler). But I am happy that even in an otherwise critical review, it’s clear that this part “breaks new ground.”

These are three ideas, or frames, that move REMIX beyond Free Culture. Different points, not “rehashing” of old. Is it “derivative”? Well, of course, it is the thought that I currently have about a subject I’ve been working on for a decade, deriving from thoughts I had before. But I had thought — I had hoped — the new added something to the old. These three things frame the new.

Finally, Spencer criticizes my 35 pages of prescription at the end.

Most annoying, he devotes only the last 35 pages of the book to his reform plan, and some of those ideas are not even that new.

Better, he suggests, would have been if I had “used Remix to tell the story of his Creative Commons.”

I’ll leave it to others to tell the story of Creative Commons. Understanding requires a less self-interested source. But I’m not sure I get what’s “annoying” about the 35 pages. I’m not sure how “new” the suggestions are. I’m more concerned with whether they’re true. Spencer seems upset that he has heard versions of them before (because the proposals I advance in fact are not the proposals I had advanced before). I guess I’m not convinced of the fairness of that annoyance. This is a second book on the culture issues. The things I believed in book one I still believe in book two. Sure, it would have been more interesting had I come to believe completely different things. (“Wait a minute — Valenti is right. What was I thinking!”) But I didn’t. I still think the copyright system regulates too much. I still believe social resources should be devoted differently. I believe even more now in the “humility” that law needs.

Though there are things that remain the same, I wrote Remix because the work of many others had helped me see important parts of this debate differently. Most importantly, the good, the optimistic, the promising parts. Remix and hybrids: they give us yet another reason to end this war.

But enough. Spencer’s a good soul. He’s written well for Businessweek, and while I’m just midway through his book, Creative Capital, I’m sure I’ll have nicer things to say about his than he about mine. I’ve said this book was essentially finished a year ago. I’ve moved on to different work. So “you won’t have [Free Culture Lessig] to kick around any more, gentlemen, because this is my last [free culture book].” (And see, if I were 15, and had any real talent, I would have taken Nixon’s press conference, superimposed my face on Nixon’s, added some Gil or NIN music, or whatever.)

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Reviews that get it http://www.lessig.org/2008/10/reviews-that-get-it/ http://www.lessig.org/2008/10/reviews-that-get-it/#comments Fri, 24 Oct 2008 21:20:57 +0000 http://lessig.org/blog/2008/10/reviews_that_get_it.html Spencer's review. My reaction was -- "really, that's what you see in the book?!" None of the key points that made it worth my writing the book were visible to him (or at least, as evinced by the review). And that, frankly, was astonishing, and astonishingly depressing. But it is the end of the day (here in Hong Kong), and with it comes a review by Kathleen Fitzpatrick, that is actually about the stuff in this book that is what the book's about, and new (and of course, as I think, important). What the book "is" of course is hard to say. But her review is actually a review of the book I thought I wrote. Most amazing fact of the day however: I posted a Flickr image of the cover of the book to distract from the Spencer review. I didn't know the photographer, and certainly didn't know where she was from. I'm not even quite sure how I even came across the image. But after my talk here in Hong Kong, she came up to me. She had seen the image on my blog. ]]> It was a tough morning swallowing Spencer’s review. My reaction was — “really, that’s what you see in the book?!” None of the key points that made it worth my writing the book were visible to him (or at least, as evinced by the review). And that, frankly, was astonishing, and astonishingly depressing.

But it is the end of the day (here in Hong Kong), and with it comes a review by Kathleen Fitzpatrick, that is actually about the stuff in this book that is what the book’s about, and new (and of course, as I think, important). What the book “is” of course is hard to say. But her review is actually a review of the book I thought I wrote.

Most amazing fact of the day however: I posted a Flickr image of the cover of the book to distract from the Spencer review. I didn’t know the photographer, and certainly didn’t know where she was from. I’m not even quite sure how I even came across the image. But after my talk here in Hong Kong, she came up to me. She had seen the image on my blog.

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Spencer didn’t like the book http://www.lessig.org/2008/10/spencer-didnt-like-the-book-1/ http://www.lessig.org/2008/10/spencer-didnt-like-the-book-1/#comments Fri, 24 Oct 2008 05:49:15 +0000 http://lessig.org/blog/2008/10/spencer_didnt_like_the_book_1.html 2963844219_3cc412416c.jpg

by laihiu at Flickr

Creative Commons License
Spence Ante didn't like Remix.

But Remix is Lessig's weakest effort to date, a derivative essay that rehashes a lot of his older work. Like Martin Scorsese doing another mobster flick, Lessig seems uninspired, groping for a fresh take on familiar themes. Most annoying, he devotes only the last 35 pages of the book to his reform plan, and some of those ideas are not even that new.
But he does give me a chance to share this beautiful picture from laihiu.]]>
2963844219_3cc412416c.jpg

by laihiu at Flickr

Creative Commons License

Spence Ante didn’t like Remix.

But Remix is Lessig’s weakest effort to date, a derivative essay that rehashes a lot of his older work. Like Martin Scorsese doing another mobster flick, Lessig seems uninspired, groping for a fresh take on familiar themes. Most annoying, he devotes only the last 35 pages of the book to his reform plan, and some of those ideas are not even that new.

But he does give me a chance to share this beautiful picture from laihiu.

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NEWS FLASH: I don’t “defen[d] piracy” http://www.lessig.org/2008/10/news-flash-i-dont-defend-pirac/ http://www.lessig.org/2008/10/news-flash-i-dont-defend-pirac/#comments Mon, 13 Oct 2008 21:14:19 +0000 http://lessig.org/blog/2008/10/news_flash_i_dont_defend_pirac.html Remix, is not "A Defense of Piracy," whatever the Wall Street Journal's headline writers may think. ]]> Sorry to disappoint, but my new book, Remix, is not “A Defense of Piracy,” whatever the Wall Street Journal’s headline writers may think.

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