Remix: Making Art and Commerce Thrive in the Hybrid Economy

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Remix: Making Art and Commerce Thrive in the Hybrid Economy

3.83 of 5 stars 3.83 · rating details · 593 ratings · 67 reviews

The author of Free Culture shows how we harm our children�and almost anyone who creates, enjoys, or sells any art form�with a restrictive copyright system driven by corporate interests. Lessig reveals the solutions to this impasse offered by a collaborative yet profitable �hybrid economy�.

Lawrence Lessig, the reigning authority on intellectual property in the Internet age...more The author of Free Culture shows how we harm our children�and almost anyone who creates, enjoys, or sells any art form�with a restrictive copyright system driven by corporate interests. Lessig reveals the solutions to this impasse offered by a collaborative yet profitable �hybrid economy�.

Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war�a war waged against our kids and others who create and consume art. America�s copyright laws have ceased to perform their original, beneficial role: protecting artists� creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions.

For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of today�s most talented artists are felons, and so are our kids, who see no reason why they shouldn�t do what their computers and the Web let them do, from burning a copyrighted CD for a friend to �biting� riffs from films, videos, songs, etc and making new art from them.

Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflict�a war as ill conceived and unwinnable as the war on drugs. By embracing �read-write culture,� which allows its users to create art as readily as they consume it, we can ensure that creators get the support�artistic, commercial, and ethical�that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the �sharing economy� evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm�from news to music�and Lessig shows how we can and should use it to benefit those who make and consume culture.

Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.(less)

Hardcover, 327 pages

Published October 16th 2008 by Penguin Press HC, The (first published 2008)

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Apr 14, 2009 Ben Babcock rated it 4 of 5 stars

Shelves: non-fiction, culture, via-colbert, own, 2009-read, technology, politics, copyright, 2009-best10, economics

I'd recommend Remix to anyone who creates content, whether as part of their day job or simply as a hobby in their basement. Lawrence Lessig takes the complicated issues surrounding modern copyright and explains them in terms laypeople can comprehend. Moreover, he makes a compelling argument from an economic standpoint as to why less copyright could lead to more profit.

My favourite quotation from this book is:

Copyright law has got to give up its obsession with "the copy." The law should not regul

...more

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Feb 02, 2009 Michael rated it 5 of 5 stars

Lessig does it again, and does it better.

My Amazon.com review says it all, but here's what I'll say here:

What is completely new about Remix is that it finally and fully embraces the human context that was always present in Lessig's writing, but always subordinated to facts and arguments. In Remix it becomes clear that we can no longer dismiss his writings as "of the elite for the elite by the elite". More dramatically, and speaking as a father myself, I believe that the experience of fatherhood...more

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Dec 06, 2008 kthread rated it 3 of 5 stars

Larry Lessig beckons us in his new book, Remix, to think about the future of a generation weaned on pirated media. In his usual elegant style, he clears the bramble around thorny issues of gift economies, fan labor (though he doesn't use the term), and what he calls the "Copyright Wars." (Here's video of the author reading the book's introduction.)

If you regularly read books in this genre you will recognize many of these examples; accordingly, Lessig works to reinvigorate the Potter Wars anecdo...more

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Mar 11, 2013 Jackie rated it 5 of 5 stars

Every time I pick up a book by him, I am always impressed by Lawrence Lessig's capacity at storytelling. There aren't many people who are simultaneously talented academics and lawyers - expert enough to argue cases before the supreme court - who can also tell stories relevant to their subject in a manner that would be captivating to any audience and at the same time manages to explain technical legal, economic, and philosophical points. This book by Lessig focuses on recent changes in the legal...more Every time I pick up a book by him, I am always impressed by Lawrence Lessig's capacity at storytelling. There aren't many people who are simultaneously talented academics and lawyers - expert enough to argue cases before the supreme court - who can also tell stories relevant to their subject in a manner that would be captivating to any audience and at the same time manages to explain technical legal, economic, and philosophical points. This book by Lessig focuses on recent changes in the legal rules surrounding access to and use of culture and knowledge of various sorts in the US - forms of information and innovation often thought of as "intellectual property." This book does a beautiful job explaining the dangers of an overly stringent intellectual property regime and the benefits for society - and our children - that come from permitting greater access to and ability to build further upon the innovations of others.

I can't speak to what this book has to add over Lessig's "Future of Ideas" and "Free Culture," as I've only read pieces of these books and some years ago. Certainly his narrative style in this book lived up to the engaging style of his classic "Code" from a decade ago. I selected to read this over the less recent books on the knowledge economy, as this field changes so quickly that I was interested in his most recent work on the subject. Having enjoyed this book, I would recommend it highly, as I would his previous works on the topic.

The subject of this book - which Lessig dedicates to our country's youth and their need to have the ability to access and build from our intellectual and cultural heritage - became more salient immediately after I completed this book, with the sad suicide of Aaron Schwarz, an incredibly talented 26 year old computer genius and political activist who had been legally persecuted for his efforts to make JSTOR academic research articles available for free to those who do not have membership in elite academic communities. (less)

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Nov 25, 2012 Jeffrey rated it 3 of 5 stars

Lessig is a lawyer and law professor who has been at the forefront of questioning copyright controls in the digital age. He presents a number of ideas about how the internet, crowdsourcing, and artistic remixing are the modalities for economic and cultural development in the 21st century.

Unlike other books that I've read about the digital revolution,* Lessig comes down squarely on the side of technological innovation and all that it has spurred: presenting a picture of the internet as a vast fro...more Lessig is a lawyer and law professor who has been at the forefront of questioning copyright controls in the digital age. He presents a number of ideas about how the internet, crowdsourcing, and artistic remixing are the modalities for economic and cultural development in the 21st century.

Unlike other books that I've read about the digital revolution,* Lessig comes down squarely on the side of technological innovation and all that it has spurred: presenting a picture of the internet as a vast frontier of fodder for art, music, activism, education, and altruism. His primary objective with Remix is to demonstrate why 20th century copyright law and the uncompromising definition of property serves neither company nor consumer in the 21st century.

In Lessig's "hybrid" economy consumers are not just consumers, they are empowered to take an active role in shaping and advancing the things they consume. Images, music, movies, text: all are easily rendered into binary and therefore easily mixed up (or mashed up, for those of you who prefer more contemporary lingo) into a potentially cross-cultural and interdisciplinary form of new creative expression. This "remixing" is taken on by the very people who formerly just bought such entertainment to be entertained. It is, in some ways, the ultimate triumph of fan fiction (just applied to every art form in addition to writing).

But Lessig isn't espousing a world where passive consumers simply become more active consumers and the wheels of the free market just fall into the fresher ruts formed by the digital world. Lessig believes that remix culture is a means by which democracy is enriched and ensured because it honors the way a new generation has learned to "write." As writing was fundamental to formulating our democracy (July 4th is ultimately about a written document, not beer or fireworks), democracy can only be ensured so long as a culture continues to be free to write. It's his definition of writing that is so intriguing:

Text is today's Latin. It is through text that we elites communicate . . . For the masses, however, most information is gathered through other forms of media: TV, film, music, and music video. These forms of "writing" are the vernacular of today. They are the kinds of "writing" that matters most to most. (68)

So, in my reading of Lessig's definition, it isn't an issue of the modern world becoming less text based so much as redefining what we mean by text. Like so much in contemporary life, access to more information and more context forces the critical mind to accept broader definitions for previously accepted ideas. At heart, that is a very democratic thing to do.

Whether or not you should read Lessig's book depends on your interest in contemporary culture or if you're in the profession of projecting business models into the future. It isn't a difficult text to read but it can be a bit dry and, for those of you who've subscribed to Wired magazine for the past ten years, you might be disappointed by the lack of material that hasn't already been a part of information-age-discourse. The most salient points in Remix center around the need for an updated approach to copyright law. As this is Lessig's area of expertise, it only makes sense that his best moments are devoted to the ways in which new forms of copyright could benefit both artist and audience. As a founding member of the Creative Commons he has already done much to prove that he practices what he preaches.

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* Such as Morris Berman's The Twilight of American Culture or Sven Birkert's Gutenberg Elegies: The Fate of Reading in an Electronic Age(less)

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Sep 24, 2011 Justine rated it 4 of 5 stars

Shelves: academic

Larry Lessig offered me a very inspiring thought in his book, which is "The law is a way of speaking and thinking and, most important, an ethic. Every lawyer must feel responsible for the law he or she helps make ... the law is made as it is practiced. How it is made depends upon the values its practitioners share."

In Remix (published in 2008), he puts copyright and IP law into perspective vis a vis the digital age. Where laws are created without the anticipation that entirely new operating fram...more

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Mar 09, 2010 Ben Bush added it

Lessig's book is the first I've read regarding copyright that examines preferable alternatives to the current system: one that might reward artists and allow for collage-remix creativity. His alternate version of file-sharing sounded hopeful but was not fleshed out enough to seem totally believable. I think I would favor his proposed tax on digital technology that would be distributed to artists according to the frequency of their work being downloaded but wasn't entirely convinced it would work...more

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Apr 29, 2012 Dave Lefevre rated it 5 of 5 stars · review of another edition

Shelves: political, copyright

At the end of this book Lessig ends with a brief explanation of why our government acts irrational when it comes to copyright, education, war, and a slew of other items. To paraphrase, he says it's because our kids have less money to give to corporate campaigns than the RIAA, big oil, war profiteers, et al. I posit that if our system was sane right now, Lessig would be one of the top spokesmen for items like the legality of public expression on the net. He would be someone who would often show u...more At the end of this book Lessig ends with a brief explanation of why our government acts irrational when it comes to copyright, education, war, and a slew of other items. To paraphrase, he says it's because our kids have less money to give to corporate campaigns than the RIAA, big oil, war profiteers, et al. I posit that if our system was sane right now, Lessig would be one of the top spokesmen for items like the legality of public expression on the net. He would be someone who would often show up on outlets like CNN to explain why we need to rethink copyright in an age of the Internet and how it's literally making whole forms of expression illegal for no good reason. Instead Lessig is a fringe figure that those of us that know about Free Software follow. In the age of the corporate media much of our country is now conditioned to think that copyright, file sharing, and the like is a simple black and white issue when its not. The rational arguments of Lessig, the Free Software movement, Open Source, and others never reach anyone's ears because the corporate media has a definite stance and they have no desire to present the other side.

The only slight markdown that Lessig gets is that he falls into the RIAA's trap by believing that if the RIAA companies get paid then artists get paid. This is a falsity that has gotten disproved time after time. Only the biggest artists make money in the record industry. Some artists never get paid because of legalities and some out and out are refused payment. This is a small point (so it thus doesn't mean it deserves a star off) but it comes up at the end of the book. Even very famous and successful artists like Trent Reznor of Nine Inch Nails fame have documented cases of the record companies stealing from them. So another reason to reform copyright that is missed by Lessig is to make sure artists get compensated because the argument that the RIAA companies take care of artists is bunk.

Here's hoping that we are only at the far end of a cycle and the mass political stupidity we're living through lightens up so we can have rational discussion about creativity. While it's not our number one priority it's importance is very high. (less)

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Nov 24, 2012 Writerlibrarian rated it 3 of 5 stars

Shelves: non-fiction, remix, read2012, november_pile

A clear and simple but not simplistic view of where copyrights law is doing to creativity, to innovation, to an entire generation of people who are 'pirates' by default.

The examples are dated, even if this was written in 2008. Digital content, technologies and how we interact, play, learn, create on this great universe of the Internet changes constantly but the basic principles of Lessig argument are interesting and do make clear that the Read Only industry has had its hour of glory and that th...more

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May 31, 2011 Adam Ross rated it 3 of 5 stars

Shelves: culture, intellectual-property

This was a solid introduction to some of the problems with our current cultural and legal systems when it comes to encouraging culture. Lessig calls our current culture "Read Only," and argues that this is the expression of professional culture and commodity culture, but that true culture building comes from what he calls "Read/Write" culture; that is, the freedom to "mash-up" parts of culture into new forms. He says that our laws serve to protect RO culture to the prosecution, destruction and d...more

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Mar 18, 2013 Elizabeth rated it 4 of 5 stars

Shelves: 2013

The content of this book will be largely familiar to anyone who knows Lessig's work or even has passing familiarity with Lev Manovich's and/or Henry Jenkins' ideas about "remix." This said, Lessig does a nice job here explaining such concepts in an accessible way that will help contextualize these issues for someone outside media studies. Moreover, he animates his work with an argument not only to inform his readers, but to convince them that based on what he explains, copyright and our approach...more

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Feb 08, 2012 Zerenus rated it 4 of 5 stars

I had high expectations for this book and was generally pleased to that end. I have known about Lawrence Lessig for awhile because of some involvement in past virtual communities he helped establish and because of his work in helping establish the Creative Commons, an alternate to standard copyright.

In the book Lessig argues that modern communication and information technology has reached a point where what was once an esoteric, highly expensive and exclusive set of activities (creating things...more I had high expectations for this book and was generally pleased to that end. I have known about Lawrence Lessig for awhile because of some involvement in past virtual communities he helped establish and because of his work in helping establish the Creative Commons, an alternate to standard copyright.

In the book Lessig argues that modern communication and information technology has reached a point where what was once an esoteric, highly expensive and exclusive set of activities (creating things videos, songs, interactive sites) has become "democratized"--in the sense that it is open to many to participate in. He distinguishes between what he calls "Read-Only" culture, or high culture/commercial culture containing movie producers, musicians, programmers, who create, license and sell their work and "Read-Write" culture, or amateur culture that involves individuals or small groups, sometimes making unique content sometimes "Remixing" content from RO (or RW). Pointing out the obvious, that RW culture is generally criminalized in the U.S. at least, he argues for ways that both cultures might thrive and feed into each other, through economic models like Google who share many of their resources but then rely on user data to build value into their services. He also makes a larger argument about copyright changes that on one hand balance copyright as a mechanism for allowing RO culture to invest into projects and profit (without giving them seemingly unending control they presently have) while on the other hand decriminalizing and promoting a stronger "Remix" culture, but I won't say more about that and instead encourage reading the book itself.

Sometimes Lessig does simplify things, like this discussion of economies, but I think this mostly has the effect of allowing him to expand his argument without spending an inordinate amount of time explaining the facets of this or that phenomena. Lessig's writing style is very approachable and enjoyable and I plan on picking up some of his other books after this one. Ultimately he puts forth an interesting argument and a potential way to bridge "RO" and "RW" that is worth reading through, especially for anyone interested in media and intellectual property "battles."(less)

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Nov 27, 2010 Giovanni Dall'Orto rated it 4 of 5 stars · review of another edition

Shelves: arte

Nel medioevo i signorotti feudali vantavano una serie di diritti di proprietà sui beni d'uso collettivo o individuale, per i quali pretendevano il pagamento d'una tassa: il focatico per il diritto ad accendere il fuoco, il legnatico per il diritto di fare legna nel bosco e così via, includendo l'uso del mulino, dei pascoli e chi più ne ha più ne metta. Collettivamente questi diritti si chiamavano "angarìe" o "angherìe", e il fatto che oggi la parola "angheria" non significhi affatto "retribuzion...more

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Oct 19, 2010 Sonia Reppe rated it 2 of 5 stars · review of another edition

Recommended to Sonia by: for lis class

Shelves: library-science, non-fiction

We live in a remix culture. We share, exchange, spread, criticize, and build upon numerous creative works. Because of the increasing digitization of our culture, every use of a work produces a copy; hence copyright laws are more far-reaching. Too far, Lessing says. He says that copyright laws need to be redefined.
He proposes:
1. Deregulate Amateur Creativity
2. Clear Title
3. Simplify
4. Decriminalize the Copy
5. Decriminalize File Sharing

What does this mean for librarians? (I ask this because I had...more

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Jul 28, 2010 Shawn Roberts rated it 4 of 5 stars

This is a very convincing argument that copyright laws as they stand are not doing the job. Anyone interested in this issue should at least give this a skim. Lessig's writing style, full of unfunny asides, can get annoying and there are some obvious editing mistakes that I can't believe weren't caught. There are also (as is typical in business books) way too many examples and not enough content binding them together. In sum, I'd say read the opening, skim the middle pages and tune back in for th...more

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Nov 01, 2010 Xabier Cid rated it 4 of 5 stars · review of another edition

There are only two 'buts' to add to this extraordinary, and also temporary, work: one is its sometimes weak approach to the main economic models (sharing / money / hybrid) where, with a more solid system of quoting some of the key previous works on the field, the results could be better. The other one is also a perhaps too naif examination of the European Law concerning the 'fair use'. Both of these aspects are, however, quite marginal for the purpose of the book. It's a book needed to be read.

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Aug 21, 2009 Josh rated it 3 of 5 stars

Shelves: non-fiction, my-books

An interesting perspective on the current state of American Copyright law that easily gets off topic, but none-the-less makes valid points. The book doesn't clearly lay out a solution, but if it could, I imagine the law itself would be easier to change - and as it stands now, it is not.

While the book is about law, it is written for the layman and is easy to understand. Lessig talks about economies and society as well as law and none of his points are particularly confusing. At times, I wish he d...more

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Oct 10, 2009 Alexandra rated it 5 of 5 stars

Because I began to work on line, I found it necessary to start finding out what was happening to my stuff on line, and that is why I began to read this new literature. This is actually like a mini text, much to learn and new terminology, but very clear. Lynn's style is very artistic, it is entertaining and clear. Beware there is a lot of information in this little book, pay attention and read with caution. I can tell already it is 5 stars, it satisfies my initial curiosity and instructs for furt...more

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Oct 02, 2011 Garrett rated it 3 of 5 stars · review of another edition

Shelves: law-and-politics

Disappointingly limited in scope, Lessig spends only one chapter discussing proposed changes to the actual copyright regime. Even then, these changes are only vaguely described, with no explanation of how they would actually be implemented. Instead, this book is a short polemic about the problems that current regulation has with creative artists like Girl Talk. You'd have to imagine that anyone purchasing this book is already familiar with that problem, and so this book isn't terribly interestin...more

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Jul 28, 2009 Peter Nestor rated it 3 of 5 stars

Excellent suggestions for revision to the law, esp. regarding decriminalization of copyright infringement. The numerous examples of shared culture, and non-financial incentives to create new works were useful. The nuanced approach to copyright law -- protect the blockbuster film that WILL lose money if pirated, but let a new artist's work be pirated freely to thier benefit -- is interesting. But is it likely to actually happen? Maybe through the courts, but that could messier than the current si...more

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Jun 26, 2009 Mark rated it 4 of 5 stars

Remix, the latest from Larry Lessig, is in essence a well-organized long essay/argument from one of the captains of the Copyleft movement. Anyone wanting a springboard to understand the compromise embodied in the Copyleft and/or the Creative Commons licensing, as well as their relationship to the commercial and sharing economies, should pick this up. Remix is thought-provoking, often suggesting further analysis and consideration without specific solutions. After comparing and contrasting "read-o...more

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Mar 27, 2013 Jonathan rated it 5 of 5 stars

Shelves: culture, copyright

Lessig, as usual, makes reasoned, well-thought out criticisms and suggestions for reform of the current copyright statutes in the United States. he is supportive of copyright, creators, and consumers. Unfortunately as long as the Citizens United decision stands, there is no hope of any of these suggestions or criticisms receiving any sort of a fair hearing on Capitol Hill.

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Jan 28, 2013 Mysteryfan rated it 3 of 5 stars

The book was written five years ago. The landscape has changed considerably but a lot of the concepts are still good. I liked his description of the Read Only vs the Read/Write culture. Content is not king, connectivity is. As things have developed, his hoped-for hybrid has definitely tilted toward the commercial but the landscape continues to change rapidly, so we'll see.

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Aug 02, 2011 Anibal added it

If we want to see our industries of culture and innovation grow we need an alternative to the old copyright system. In this technological era we live in the old system is killing creativity and Professor Lessig has envisioned an approachable solution: hybrid economies. A "remix" between commercial and sharing economies. This book has the details.

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Apr 10, 2012 BenkeL rated it 3 of 5 stars

A fairly interesting book, well written and his opinions come across easily. Could have used fewer pages for the same message. Moreover all the examples of the commercial benefits of the read- write culture comes from the same domain, I.e. fan clubs of the different creations of the big content owners, e.g. Star wars .

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Jan 06, 2009 Terry rated it 3 of 5 stars

The book never really came together. There were a lot of strains regarding cultural organizations, law, and such that were never brought together well. Much like Free Culture, the book didn't have much of an easily state-able central argument exception "de-criminalize youth" and "we need to change copyright".

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May 09, 2009 Mercedes rated it 3 of 5 stars

Lessig thoughtfully explains our "read-write" culture where technologies have allowed us to be more creators than just passive consumers and how copyright laws have not caught evolved yet to embrace this change. It really makes you question why images, music and film are treated so different from text.

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Mar 20, 2011 Chrystal rated it 4 of 5 stars

An accessible, enjoyable read from the (former?) leading expert on remix culture and copyright in the Internet age. While there are definitely weak points in Lessig's thesis, the book offers a good intro to an area of tension between culture and the law that is becoming increasingly pertinent.

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Mar 25, 2013 Patrick Lum rated it 3 of 5 stars · review of another edition

Though Lessig makes a lot of sound arguments especially in regard to copyright reform I can't help but feel that overall this is a rather light book. Case studies are relatively brief and glossed over. Still, interesting ideas and a real understanding of how people in a digital environment tend to behave (although slightly outdated, as all literature is, by the rapidly changing virtual landscape).

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Feb 02, 2011 Marti rated it 3 of 5 stars

I don't buy Lessig's reasoning about our laws (re: copyright) are making criminals of our children--where is the personal responsibility element? But, after studying copyright for awhile now, I'm coming around to a less corporate point of view.

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About Lawrence Lessig

Lawrence "Larry" Lessig (born June 3, 1961) is an American academic and political activist. He is best known as a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications.
He is a director of the Edmond J. Safra Foundation Center for Ethics at Harvard University and a professor of law at Harvard Law School. Prior to rejoi...more

More about Lawrence Lessig...

Books by Lawrence Lessig

Free Culture: The Nature and Future of Creativity

Republic, Lost: How Money Corrupts Congress--and a Plan to Stop It

The Future of Ideas: The Fate of the Commons in a Connected World

One Way Forward: The Outsider's Guide to Fixing the Republic

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Quotes from Remix: Making Art and ...

“Copyright law has got to give up its obsession with 'the copy.' The law should not regulate 'copies' or 'modern reproductions' on their own. It should instead regulate uses--like public distributions of copies of copyrighted work--that connect directly to the economic incentive copyright law was intended to foster.” — 6 people liked it

“But, like all metaphoric wars, the copyright wars are not actual conflicts of survival. Or at least, they are not conflicts for survival of a people or a society, even if they are wars of survival for certain businesses or, more accurately, business models. Thus we must keep i mind the other values or objectives that might also be affected by this war. We must make sure this war doesn't cost more than it is worth. We must be sure it is winnable, or winnable at a price we're willing to pay.” — 3 people liked it

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