LAWRENCE LESSIG QUOTES II
American academic & political activist (1961- )
We are a cut-and-paste culture. The aim of the protectionists is to argue that a cut-and-paste culture is criminal. Well, it's only criminal if there's nothing out there that you can freely cut and paste. If we increasingly mark material as available for these non-commercial uses, then people will have the opportunity to see its importance.
LAWRENCE LESSIG
"Righting Copyright: An Interview with Lawrence Lessig", Cabinet Magazine, fall 2002
We, the most powerful democracy in the world, have developed a strong norm against talking about politics. It's fine to talk about politics with people you agree with. But it is rude to argue about politics with people you disagree with. Political discourse becomes isolated, and isolated discourse becomes more extreme. We say what our friends want to hear, and hear very little beyond what our friends say.
LAWRENCE LESSIG
Free Culture
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
LAWRENCE LESSIG
Free Culture
Monopolies are not justified by theory; they should be permitted only when justified by facts. If there is no solid basis for extending a certain monopoly protection, then we should not extend that protection. This does not mean that every copyright must prove its value initially. That would be a far too cumbersome system of control. But it does mean that every system or category of copyright or patent should prove its worth. Before the monopoly should be permitted, there must be reason to believe it will do some good -- for society, and not just for monopoly holders.
LAWRENCE LESSIG
"May the Source Be With You", Wired Magazine, December 9, 2001
One theme of what I've been writing has been to get people to understand that "apolitical" means "you lose." It doesn't mean you live a utopian life free of politicians' influence. The destruction of the public domain is the clearest example, but it will only be the first.
LAWRENCE LESSIG
"Righting Copyright: An Interview with Lawrence Lessig", Cabinet Magazine, fall 2002
Politics is that rare sport where the amateur contest is actually more interesting than the professional.
LAWRENCE LESSIG
Republic, Lost: How Money Corrupts Congress--and a Plan to Stop It
There are very few people in our society who are actually free to say what they believe. I am in an extremely fortunate position in having this enormous gift of freedom and believe I should try to use it to do something useful for society. As long as I feel as if I have something to say, I'll continue to try to do that.
LAWRENCE LESSIG
interview, WIPO Magazine, February 2011
If the law imposed the death penalty for parking tickets, we'd not only have fewer parking tickets, we'd also have much less driving.
LAWRENCE LESSIG
Free Culture: The Nature and Future of Creativity
Creativity and innovation always builds on the past.
The past always tries to control the creativity that builds upon it.
Free societies enable the future by limiting this power of the past.
Ours is less and less a free society.
LAWRENCE LESSIG
keynote address at the Open Source Convention, OSCON, July 24, 2002
As I have worked over the past four years to understand this problem, I have become convinced that while a corruption of Congress is destroying the republic, that corruption is not the product of evil. There is a great harm here, but no bin Laden. There are Jack Abramoffs and Duke Cunninghams, to be sure, but they are the exception, not the rule. And without great evil, I am not yet sure that we can muster the will to fight. We will, I fear, simply tolerate the corruption, as a host tolerates a parasite that is not life threatening. Until it is.
LAWRENCE LESSIG
preface, Republic, Lost: How Money Corrupts Congress--and a Plan to Stop It
A free culture supports and protects creators and innovators. It does this directly by granting intellectual property rights. But it does so indirectly by limiting the reach of those rights, to guarantee that follow-on creators and innovators remain as free as possible from the control of the past. A free culture is not a culture without property, just as a free market is not a market in which everything is free. The opposite of a free culture is a "permission culture" -- a culture in which creators get to create only with the permission of the powerful, or of creators from the past.
LAWRENCE LESSIG
Free Culture: The Nature and Future of Creativity
It is the pathology of modern politics that we have become so disgusted with self-government that our automatic response to government is criticism. Freedom is always freedom from government; liberty is always liberty from what government would otherwise do.
LAWRENCE LESSIG
Code and Other Laws of Cyberspace
What's happening in digital books generally is that a whole bunch of rights that you would effectively have with ordinary books -- like I could loan it to my friend, I could destroy it, I could copy a chapter out of it, I could read it to my children, I could sell it somebody else - all of those rights are erased in the digital context because these shrink wrap licenses and the code built into these books makes it impossible for you legally to give it to a friend, or to sell it to somebody afterward or to copy a chapter out of it or in this case, to read it to your child. So what they are doing is using contracting code to restrict the rights that you used to have. The reason they can do this is that copyright law has always permitted some amount of contracting in addition to the rights granted by copyright. The fact is people didn't waste their time entering into those contracts before because they were essentially unenforceable. You could, in principle, write whatever you want into the shrink wrap license selling the book, but what are they going to do? You can't give this to a friend, how are they going to police that? So because it is impossible to police, there is no reason to require it. But now the technology makes it so that you can begin to police it, so the copyright interest says, "We've always been able to add these restrictions. Now we're adding these restrictions and they should be as enforceable as they were before."
LAWRENCE LESSIG
"Code + Law: An Interview with Lawrence Lessig", OpenP2P, January 29, 2001
I would dramatically reduce the safeguards for software -- from the ordinary term of 95 years to an initial term of 5 years, renewable once. And I would extend that government-backed protection only if the author submitted a duplicate of the source code to be held in escrow while the work was protected. Once the copyright expired, that escrowed version would be publicly available from the copyright office. Most programmers should like this change. No code lives for 10 years, and getting access to the source code of even orphaned software projects would benefit all. More important, it would unlock the knowledge built into this protected code for others to build upon as they see fit. Software would thus be like every other creative work -- open for others to see and to learn from.
LAWRENCE LESSIG
"May the Source Be With You", Wired Magazine, December 9, 2001
When you think about a presidential candidate spending all of his or her time talking to that tiny, tiny fraction of us who have the capacity to fund political elections, it's obvious why the perspective of government is skewed relative to what most Americans care about.
LAWRENCE LESSIG
"Lawrence Lessig Has a Moonshot Plan to Halt Our Slide Toward Plutocracy", Moyers & Company, April 25, 2014
Copyrights have not expired, and will not expire, so long as Congress is free to be bought to extend them again.
LAWRENCE LESSIG
Free Culture
I think if the copyright regime focuses on the people we are supposed to be helping, the artists and creators, and builds a system that gives them the freedom to choose and to protect and to be rewarded for their creativity, then we will have the right focus.
LAWRENCE LESSIG
interview, WIPO Magazine, February 2011
At just the time that the Internet is reminding us about the extraordinary value of freedom, the Internet is being changed to take that freedom away. Just as we are beginning to see the power that free resources produce, changes in the architecture of the Internet--both legal and technical--are sapping the Internet of this power. Fueled by a bias in favor of control, pushed by those whose financial interests favor control, our social and political institutions are ratifying changes in the Internet that will reestablish control and, in turn, reduce innovation on the Internet and in society generally.
LAWRENCE LESSIG
The Future of Ideas: The Fate of the Commons in a Connected World
A simple idea blinds us, and under the cover of darkness, much happens that most of us would reject if any of us looked. So uncritically do we accept the idea of property in ideas that we don't even notice how monstrous it is to deny ideas to a people who are dying without them. So uncritically do we accept the idea of property in culture that we don't even question when the control of that property removes our ability, as a people, to develop our culture democratically. Blindness becomes our common sense. And the challenge for anyone who would reclaim the right to cultivate our culture is to find a way to make this common sense open its eyes.
LAWRENCE LESSIG
Free Culture
Remixed media succeed when they show others something new; they fail when they are trite or derivative. Like a great essay or a funny joke, a remix draws upon the work of others in order to do new work. It is great writing without words. It is creativity supported by a new technology. Yet though this remix is not new, for most of our history it was silenced. Not by a censor, or by evil capitalists, or even by good capitalists. It was silenced because the economics of speaking in this different way made this speaking impossible, at least for most. If in 1968 you wanted to capture the latest Walter Cronkite news program and remix it with the Beatles, and then share it with your ten thousand best friends, what blocked you was not the law. What blocked you was that the production costs alone would have been in the tens of thousands of dollars. Digital technologies have now removed that economic censor. The ways and reach of speech are now greater. More people can use a wider set of tools to express ideas and emotions differently. More can, and so more will, at least until the law effectively blocks it.
LAWRENCE LESSIG
Remix: Making Art and Commerce Thrive in the Hybrid Economy