[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:03.00,0:00:06.00,Default,,0000,0000,0000,,Lawrence Lessig: So I want to start with the words of Jessica Litman
Dialogue: 0,0:00:06.00,0:00:09.00,Default,,0000,0000,0000,,who in 1994 wrote this in an article titled
Dialogue: 0,0:00:09.00,0:00:12.00,Default,,0000,0000,0000,,"The Exclusive Right to Read".
Dialogue: 0,0:00:12.00,0:00:16.00,Default,,0000,0000,0000,,Jessica wrote: "At the turn of the century,
Dialogue: 0,0:00:16.00,0:00:19.00,Default,,0000,0000,0000,,U.S: copyright law was technical, inconsistent
Dialogue: 0,0:00:19.00,0:00:22.00,Default,,0000,0000,0000,,and difficult to understand,
Dialogue: 0,0:00:22.00,0:00:26.00,Default,,0000,0000,0000,,but it didn't apply to very many people or very many things."
Dialogue: 0,0:00:26.00,0:00:30.00,Default,,0000,0000,0000,,"If one were an author or publisher of books.
Dialogue: 0,0:00:30.00,0:00:33.00,Default,,0000,0000,0000,,maps, charts, paintings, sculpture, photographs or sheet music,
Dialogue: 0,0:00:33.00,0:00:35.00,Default,,0000,0000,0000,,a playwright or producer of plays, or a printer,
Dialogue: 0,0:00:36.00,0:00:39.00,Default,,0000,0000,0000,,the copyright law bore on one's business."
Dialogue: 0,0:00:40.00,0:00:46.00,Default,,0000,0000,0000,,"Booksellers, piano-roll and phonograph record publishers, motion picture producers,
Dialogue: 0,0:00:46.00,0:00:50.00,Default,,0000,0000,0000,,musicians, scholars, members of Congress, and ordinary citizens
Dialogue: 0,0:00:50.00,0:00:53.00,Default,,0000,0000,0000,,however could go about their business without ever
Dialogue: 0,0:00:53.00,0:00:56.00,Default,,0000,0000,0000,,encountering a copyright problem."
Dialogue: 0,0:00:56.00,0:01:05.00,Default,,0000,0000,0000,,"90 years later, the U.S: © law is even more technical, inconsistent and difficult to understand;
Dialogue: 0,0:01:05.00,0:01:10.00,Default,,0000,0000,0000,,more importantly, it touches everone and everything."
Dialogue: 0,0:01:11.00,0:01:16.00,Default,,0000,0000,0000,,"Technology, heedless of law, has developed modes
Dialogue: 0,0:01:16.00,0:01:20.00,Default,,0000,0000,0000,,that insert multiple acts of reproduction and transmission
Dialogue: 0,0:01:20.00,0:01:28.00,Default,,0000,0000,0000,,- potentially actionable events under the © statute - into commonplace daily transactions.
Dialogue: 0,0:01:28.00,0:01:36.00,Default,,0000,0000,0000,,"Most of us can no longer spend even an hour without colliding with the © law."
Dialogue: 0,0:01:41.00,0:01:47.00,Default,,0000,0000,0000,,In 1906, this man, John Philip Souza, traveled to this place, the US Congress,
Dialogue: 0,0:01:47.00,0:01:51.00,Default,,0000,0000,0000,,to talk about this technology, which he called the "talking machines".
Dialogue: 0,0:01:51.00,0:01:56.00,Default,,0000,0000,0000,,Souza was not a fan of the talking machines.
Dialogue: 0,0:01:56.00,0:02:01.00,Default,,0000,0000,0000,,This is what he had to say: "These talking machines are going to ruin
Dialogue: 0,0:02:01.00,0:02:04.00,Default,,0000,0000,0000,,the artistic development of music in this country.
Dialogue: 0,0:02:04.00,0:02:08.00,Default,,0000,0000,0000,,When I was a boy... in front of every house in the summer evenings
Dialogue: 0,0:02:08.00,0:02:12.00,Default,,0000,0000,0000,,you would find youg people together, singing the songs of the day or the old songs.
Dialogue: 0,0:02:12.00,0:02:18.00,Default,,0000,0000,0000,,Today, you hear these infernal machines going night and day.
Dialogue: 0,0:02:18.00,0:02:22.00,Default,,0000,0000,0000,,We will not have a vocal chord left" Souza said
Dialogue: 0,0:02:22.00,0:02:25.00,Default,,0000,0000,0000,,"The vocal chords will be eliminated by a process of evolution,
Dialogue: 0,0:02:25.00,0:02:30.00,Default,,0000,0000,0000,,as was the tail of man when he came from the ape."
Dialogue: 0,0:02:30.00,0:02:35.00,Default,,0000,0000,0000,,Now this is the picture I want you to focus on, this picture of young people together
Dialogue: 0,0:02:35.00,0:02:38.00,Default,,0000,0000,0000,,singing the songs of the day or the old songs.
Dialogue: 0,0:02:38.00,0:02:43.00,Default,,0000,0000,0000,,This is a picture of cultureP We could call it, using modern computer terminology,
Dialogue: 0,0:02:43.00,0:02:46.00,Default,,0000,0000,0000,,a kind of read-write culture.
Dialogue: 0,0:02:46.00,0:02:52.00,Default,,0000,0000,0000,,It's a culture where people participate in the creation and re-creation of their culture,
Dialogue: 0,0:02:52.00,0:02:58.00,Default,,0000,0000,0000,,in that sense, it's read-write. And Souza's fear was that we'd lose the capacity
Dialogue: 0,0:02:58.00,0:03:03.00,Default,,0000,0000,0000,,to engage in this read-write creativity because of these "infernal machines".
Dialogue: 0,0:03:03.00,0:03:08.00,Default,,0000,0000,0000,,They would take it away, displace it, and in its place we'd have the opposite
Dialogue: 0,0:03:08.00,0:03:13.00,Default,,0000,0000,0000,,of read-write creativity, what we could call, using modern computer terminology,
Dialogue: 0,0:03:13.00,0:03:16.00,Default,,0000,0000,0000,,a kind of read-only culture.
Dialogue: 0,0:03:16.00,0:03:22.00,Default,,0000,0000,0000,,A culture where creativity is consumed, but the consumer is not a creator.
Dialogue: 0,0:03:22.00,0:03:25.00,Default,,0000,0000,0000,,A culture, in this sense, that's top-down,
Dialogue: 0,0:03:25.00,0:03:30.00,Default,,0000,0000,0000,,where the vocal cords of the millions of ordinary people have been lost.
Dialogue: 0,0:03:31.00,0:03:35.00,Default,,0000,0000,0000,,Now if you look back at culture in the 20th century
Dialogue: 0,0:03:36.00,0:03:38.00,Default,,0000,0000,0000,,at least in what we call "the developed world",
Dialogue: 0,0:03:38.00,0:03:42.00,Default,,0000,0000,0000,,it's hard not to conclude that John Philip Souza was right.
Dialogue: 0,0:03:43.00,0:03:46.00,Default,,0000,0000,0000,,Never before in the history of human culture
Dialogue: 0,0:03:46.00,0:03:48.00,Default,,0000,0000,0000,,had its production become as concentrated.
Dialogue: 0,0:03:48.00,0:03:51.00,Default,,0000,0000,0000,,Never before had it become as professionalized.
Dialogue: 0,0:03:52.00,0:03:57.00,Default,,0000,0000,0000,,Never before had the creativity of ordinary creators been as effectively displaced
Dialogue: 0,0:03:57.00,0:04:01.00,Default,,0000,0000,0000,,and displaced, as he said, because of these "Infernal machines".
Dialogue: 0,0:04:01.00,0:04:06.00,Default,,0000,0000,0000,,A technology - a technology of broadcasting and vinyl records
Dialogue: 0,0:04:07.00,0:04:10.00,Default,,0000,0000,0000,,had produced this passive, consuming culture.
Dialogue: 0,0:04:10.00,0:04:13.00,Default,,0000,0000,0000,,It's a technology that enabled efficient consumption
Dialogue: 0,0:04:13.00,0:04:18.00,Default,,0000,0000,0000,,- what we could call "reading" - but inefficient at least what we'd call
Dialogue: 0,0:04:18.00,0:04:22.00,Default,,0000,0000,0000,,amateur production - what I want to call "writing".
Dialogue: 0,0:04:22.00,0:04:28.00,Default,,0000,0000,0000,,It was a great culture for listening, not so great technology for speaking;
Dialogue: 0,0:04:28.00,0:04:34.00,Default,,0000,0000,0000,,a great technology for writing, not a great technology for democratic creation.
Dialogue: 0,0:04:34.00,0:04:39.00,Default,,0000,0000,0000,,The 20th century was this unique century in the history of human culture
Dialogue: 0,0:04:39.00,0:04:42.00,Default,,0000,0000,0000,,where culture had become "read only",
Dialogue: 0,0:04:42.00,0:04:48.00,Default,,0000,0000,0000,,against a background of read/write creativity since the beginning of human culture.
Dialogue: 0,0:04:48.00,0:04:53.00,Default,,0000,0000,0000,,OK, that's here our introduction to an argument I want to make here today.
Dialogue: 0,0:04:53.00,0:04:58.00,Default,,0000,0000,0000,,And the argument invokes an idea that my friend and colleague Jamie Boyle
Dialogue: 0,0:04:58.00,0:05:01.00,Default,,0000,0000,0000,,has been speaking of for more than a decade.
Dialogue: 0,0:05:01.00,0:05:07.00,Default,,0000,0000,0000,,So this Idea is that we recognize first that creativity happens within an ecology.
Dialogue: 0,0:05:07.00,0:05:13.00,Default,,0000,0000,0000,,An ecology, an environment that sets the conditions of exchange.
Dialogue: 0,0:05:13.00,0:05:19.00,Default,,0000,0000,0000,,And number 2 these ecologies are importantly different.
Dialogue: 0,0:05:19.00,0:05:24.00,Default,,0000,0000,0000,,There are different ecologies of creativity.
Dialogue: 0,0:05:24.00,0:05:30.00,Default,,0000,0000,0000,,Some of these ecologies have money at the core
Dialogue: 0,0:05:30.00,0:05:34.00,Default,,0000,0000,0000,,Others don't have money at the core.
Dialogue: 0,0:05:34.00,0:05:40.00,Default,,0000,0000,0000,,And some have money and practices that don't depend upon money
Dialogue: 0,0:05:40.00,0:05:44.00,Default,,0000,0000,0000,,right at the core. They are different ecologies of creativity.
Dialogue: 0,0:05:44.00,0:05:48.00,Default,,0000,0000,0000,,So think about the professional ecologies of creativity,
Dialogue: 0,0:05:48.00,0:05:54.00,Default,,0000,0000,0000,,ecologies that the Beatles or Dylan or John Philip Souza created for.
Dialogue: 0,0:05:54.00,0:05:59.00,Default,,0000,0000,0000,,For these ecologies the control of the creativity is imposrtant
Dialogue: 0,0:05:59.00,0:06:04.00,Default,,0000,0000,0000,,to assure the necessary compensation that the artist needs
Dialogue: 0,0:06:04.00,0:06:07.00,Default,,0000,0000,0000,,to create the incentives for that artist to create.
Dialogue: 0,0:06:07.00,0:06:11.00,Default,,0000,0000,0000,,In these professional ecologies, these ecologies depend upon
Dialogue: 0,0:06:11.00,0:06:15.00,Default,,0000,0000,0000,,an effective and efficient system of copyright.
Dialogue: 0,0:06:15.00,0:06:20.00,Default,,0000,0000,0000,,But in what we could call an amateur ecology of creativity
Dialogue: 0,0:06:20.00,0:06:25.00,Default,,0000,0000,0000,,by which I don't mean amateurish, In stead I mean an ecology
Dialogue: 0,0:06:25.00,0:06:28.00,Default,,0000,0000,0000,,where the creator creates for the love of the creativity
Dialogue: 0,0:06:28.00,0:06:33.00,Default,,0000,0000,0000,,and not for the money. In that kind of ecology,
Dialogue: 0,0:06:33.00,0:06:38.00,Default,,0000,0000,0000,,an ecology that lives within what we could call, following Yochai Benkler,
Dialogue: 0,0:06:38.00,0:06:44.00,Default,,0000,0000,0000,,the sharing economy. That's the economy that children live within
Dialogue: 0,0:06:44.00,0:06:48.00,Default,,0000,0000,0000,,or friends live within, or lovers live within -
Dialogue: 0,0:06:48.00,0:06:51.00,Default,,0000,0000,0000,,in those kinds of economies, for these -
Dialogue: 0,0:06:51.00,0:06:55.00,Default,,0000,0000,0000,,people don't use money to express value
Dialogue: 0,0:06:55.00,0:07:00.00,Default,,0000,0000,0000,,and to set the terms of their exchange.
Dialogue: 0,0:07:00.00,0:07:05.00,Default,,0000,0000,0000,,Indeed if you introduced money into those sharing economies,
Dialogue: 0,0:07:05.00,0:07:09.00,Default,,0000,0000,0000,,you would radically change the character of those economies.
Dialogue: 0,0:07:09.00,0:07:14.00,Default,,0000,0000,0000,,So imagine friends, inviting the other for lunch the following week
Dialogue: 0,0:07:14.00,0:07:17.00,Default,,0000,0000,0000,,and the answer is "Sure, how about for 50 bucks?"
Dialogue: 0,0:07:17.00,0:07:22.00,Default,,0000,0000,0000,,Or imagine dropping money right in the middle of this kind of relarionship
Dialogue: 0,0:07:22.00,0:07:25.00,Default,,0000,0000,0000,,we radically transform it into something very different.
Dialogue: 0,0:07:26.00,0:07:31.00,Default,,0000,0000,0000,,The point is to recognize how creativity in many contexts,
Dialogue: 0,0:07:31.00,0:07:34.00,Default,,0000,0000,0000,,in the context Souza was romanticizing,
Dialogue: 0,0:07:34.00,0:07:38.00,Default,,0000,0000,0000,,is a creativity that exists outside of an economy of cash.
Dialogue: 0,0:07:38.00,0:07:44.00,Default,,0000,0000,0000,,In this sense, this amateur ecology depends not upon control
Dialogue: 0,0:07:44.00,0:07:50.00,Default,,0000,0000,0000,,and copyright, but instead depends upon this opportunity for free use and sharing.
Dialogue: 0,0:07:50.00,0:07:55.00,Default,,0000,0000,0000,,And then finally, think about the scientific ecology
Dialogue: 0,0:07:55.00,0:08:00.00,Default,,0000,0000,0000,,of creativity, of the scientist, or the educator, or the scholar.
Dialogue: 0,0:08:00.00,0:08:03.00,Default,,0000,0000,0000,,There's a very interesting picture here, this 16th century scholar
Dialogue: 0,0:08:03.00,0:08:06.00,Default,,0000,0000,0000,,notice the kind of guilty look on his face. And look down
Dialogue: 0,0:08:06.00,0:08:10.00,Default,,0000,0000,0000,,and see exactly what he's doing: he's copying from that book.
Dialogue: 0,0:08:10.00,0:08:14.00,Default,,0000,0000,0000,,He's just a pirate from long ago this scholar here, right?
Dialogue: 0,0:08:14.00,0:08:18.00,Default,,0000,0000,0000,,because of course, scholarship is and has always been this activity
Dialogue: 0,0:08:18.00,0:08:23.00,Default,,0000,0000,0000,,of creating within a mixed economy of free and paid
Dialogue: 0,0:08:23.00,0:08:28.00,Default,,0000,0000,0000,,A creator here has a love for his or her creativity,
Dialogue: 0,0:08:28.00,0:08:32.00,Default,,0000,0000,0000,,a love that exceeds how much she or he is paid.
Dialogue: 0,0:08:32.00,0:08:39.00,Default,,0000,0000,0000,,But it's that economy that defines the mixed ecology of scientific knowledge.
Dialogue: 0,0:08:39.00,0:08:43.00,Default,,0000,0000,0000,,This ecology depends not upon exclusive control, but
Dialogue: 0,0:08:43.00,0:08:49.00,Default,,0000,0000,0000,,but both on free and fair use of creative work that is built upon
Dialogue: 0,0:08:49.00,0:08:54.00,Default,,0000,0000,0000,,and then spread. Now, the key here is to recognize that these ecologies
Dialogue: 0,0:08:54.00,0:08:59.00,Default,,0000,0000,0000,,coexist. They complement each other.
Dialogue: 0,0:08:59.00,0:09:07.00,Default,,0000,0000,0000,,And here is the critical point: a copyright system must support
Dialogue: 0,0:09:07.00,0:09:13.00,Default,,0000,0000,0000,,each of these separate ecologies. It's not enough for it to support one
Dialogue: 0,0:09:13.00,0:09:18.00,Default,,0000,0000,0000,,and destroy the others. It must support each of them, it must
Dialogue: 0,0:09:18.00,0:09:21.00,Default,,0000,0000,0000,,support the professional ecology of creativity,
Dialogue: 0,0:09:21.00,0:09:24.00,Default,,0000,0000,0000,,through adequate and sufficient incentives.
Dialogue: 0,0:09:25.00,0:09:29.00,Default,,0000,0000,0000,,But it must also support the amateur and scientific ecologies of creativity
Dialogue: 0,0:09:29.00,0:09:32.00,Default,,0000,0000,0000,,through essential freedoms that they depend upon.
Dialogue: 0,0:09:32.00,0:09:37.00,Default,,0000,0000,0000,,Or again, more graphically, copyright needs to do two things, not just one.
Dialogue: 0,0:09:37.00,0:09:42.00,Default,,0000,0000,0000,,It needs to provide the incentives that the professionals
Dialogue: 0,0:09:42.00,0:09:48.00,Default,,0000,0000,0000,,need by protecting the freedoms that the amateur and scientific creations need.
Dialogue: 0,0:09:48.00,0:09:58.00,Default,,0000,0000,0000,,So these ecologies change. Technologies change them,
Dialogue: 0,0:09:58.00,0:10:00.00,Default,,0000,0000,0000,,technologies of broadcasting and vinyl changed them
Dialogue: 0,0:10:01.00,0:10:04.00,Default,,0000,0000,0000,,in a way that Souza feared. Government change them.
Dialogue: 0,0:10:04.00,0:10:07.00,Default,,0000,0000,0000,,Think about the Chinese government's relationship
Dialogue: 0,0:10:08.00,0:10:11.00,Default,,0000,0000,0000,,to the Tibetan cultural heritage.
Dialogue: 0,0:10:11.00,0:10:20.00,Default,,0000,0000,0000,,Economics changes them. So in the 18th century opera was king
Dialogue: 0,0:10:20.00,0:10:25.00,Default,,0000,0000,0000,,and singers were troubadours. In the 20th century economics had made
Dialogue: 0,0:10:25.00,0:10:28.00,Default,,0000,0000,0000,,the troubadours kings and opera fell into increasing disuse.
Dialogue: 0,0:10:28.00,0:10:37.00,Default,,0000,0000,0000,,These ecologies change, and interestingly and obviously the Internet
Dialogue: 0,0:10:37.00,0:10:42.00,Default,,0000,0000,0000,,has changed them dramatically, has changed professional
Dialogue: 0,0:10:42.00,0:10:47.00,Default,,0000,0000,0000,,ecologies of creativity through technologies like Napster
Dialogue: 0,0:10:47.00,0:10:50.00,Default,,0000,0000,0000,,or Apple and their iTunes music store, producing radically
Dialogue: 0,0:10:50.00,0:10:56.00,Default,,0000,0000,0000,,new markets, and radical increase in the diversity of culture that is accessible,
Dialogue: 0,0:10:56.00,0:11:00.00,Default,,0000,0000,0000,,the opportunity to buy and consume culture produced
Dialogue: 0,0:11:00.00,0:11:07.00,Default,,0000,0000,0000,,anywhere and in any form, is the opportunity that this digital culture
Dialogue: 0,0:11:07.00,0:11:12.00,Default,,0000,0000,0000,,for this form of creativity has produced.
Dialogue: 0,0:11:12.00,0:11:16.00,Default,,0000,0000,0000,,In the scientific context,we've seen a dramatic change
Dialogue: 0,0:11:16.00,0:11:20.00,Default,,0000,0000,0000,,in the way in which scientific knowledge gets produced and shared
Dialogue: 0,0:11:20.00,0:11:25.00,Default,,0000,0000,0000,,through extraordinary listservs that facilitate immediate
Dialogue: 0,0:11:25.00,0:11:29.00,Default,,0000,0000,0000,,spread of knowledge in certain fields to free publications
Dialogue: 0,0:11:29.00,0:11:32.00,Default,,0000,0000,0000,,like the Public library of science, which assures free access
Dialogue: 0,0:11:32.00,0:11:36.00,Default,,0000,0000,0000,,to the underlying work perpetually, to an increasing spread of
Dialogue: 0,0:11:36.00,0:11:40.00,Default,,0000,0000,0000,,even blog structures producing a radical new opportunity
Dialogue: 0,0:11:40.00,0:11:44.00,Default,,0000,0000,0000,,to spread these ideas broadly. And in the amateur culture,
Dialogue: 0,0:11:44.00,0:11:50.00,Default,,0000,0000,0000,,we've seen an explosion through platforms such as YouTube
Dialogue: 0,0:11:50.00,0:11:55.00,Default,,0000,0000,0000,,of what I want to call a kind of call and response culture
Dialogue: 0,0:11:55.00,0:12:00.00,Default,,0000,0000,0000,,that has revived thre read/write culture fundamentally.
Dialogue: 0,0:12:01.00,0:12:03.00,Default,,0000,0000,0000,,So I want to give you some examples of this,
Dialogue: 0,0:12:03.00,0:12:06.00,Default,,0000,0000,0000,,So we just have a clear sense of what I'm talking about.
Dialogue: 0,0:12:06.00,0:12:07.00,Default,,0000,0000,0000,,Everybody knows this -
Dialogue: 0,0:12:10.00,0:12:14.00,Default,,0000,0000,0000,,(music) piece of work by Pachelbel, canon in D?
Dialogue: 0,0:12:16.00,0:12:24.00,Default,,0000,0000,0000,,A teenager, sitting in his room, [name not understood], remixed it then.
Dialogue: 0,0:12:24.00,0:12:31.00,Default,,0000,0000,0000,,(remixed music)
Dialogue: 0,0:12:31.00,0:12:37.00,Default,,0000,0000,0000,,79 million people have watched this remix
Dialogue: 0,0:12:38.00,0:12:42.00,Default,,0000,0000,0000,,and more importantly for me, as 79 million people have watched it,
Dialogue: 0,0:12:42.00,0:12:48.00,Default,,0000,0000,0000,,more than 2600 people have reinterpreted it,like this
Dialogue: 0,0:12:48.00,0:12:53.00,Default,,0000,0000,0000,,writing their own version for other people to view from YouTube.
Dialogue: 0,0:12:53.00,0:12:56.00,Default,,0000,0000,0000,,Or here's another example- This video:
Dialogue: 0,0:12:57.00,0:13:11.00,Default,,0000,0000,0000,,(video)
Dialogue: 0,0:13:11.00,0:13:14.00,Default,,0000,0000,0000,,that inspired somebody to produce this video:
Dialogue: 0,0:13:28.00,0:13:31.00,Default,,0000,0000,0000,,which then inspired somebody to produce this video:
Dialogue: 0,0:13:47.00,0:13:51.00,Default,,0000,0000,0000,,Here is one more example.So everybody should know the Brad Pack
Dialogue: 0,0:13:51.00,0:13:58.00,Default,,0000,0000,0000,,which was a collection of actors who performed first in the Breakfast Club
Dialogue: 0,0:13:58.00,0:14:03.00,Default,,0000,0000,0000,,And the Brad Pack was an inspiration to a certain culture,
Dialogue: 0,0:14:03.00,0:14:09.00,Default,,0000,0000,0000,,certain generation. And the song Listomania, produced by the group Phoenix
Dialogue: 0,0:14:09.00,0:14:14.00,Default,,0000,0000,0000,,has become a certain cultural icon to a generation.
Dialogue: 0,0:14:14.00,0:14:17.00,Default,,0000,0000,0000,,So somebody decided they would take the video from
Dialogue: 0,0:14:17.00,0:14:23.00,Default,,0000,0000,0000,,the Breakfast Club and remix it and create a music video
Dialogue: 0,0:14:23.00,0:14:26.00,Default,,0000,0000,0000,,for Listomania. And this is what they produced:
Dialogue: 0,0:14:35.00,0:14:42.00,Default,,0000,0000,0000,,So recognize, this is just re-editing the underlying movements, setting it to music
Dialogue: 0,0:14:42.00,0:14:57.00,Default,,0000,0000,0000,,And then somebody got the idea that they ought to create (...) of exactly this. So
Dialogue: 0,0:14:57.00,0:15:00.00,Default,,0000,0000,0000,,Brooklyn decided he would be first,
Dialogue: 0,0:15:28.00,0:15:32.00,Default,,0000,0000,0000,,And of course not to be outdone, San Francisco decided it would be next
Dialogue: 0,0:15:58.00,0:16:06.00,Default,,0000,0000,0000,,And another (...) scores of these on YouTube, from cities around the world (?)
Dialogue: 0,0:16:06.00,0:16:11.00,Default,,0000,0000,0000,,as people reinterpret the same original scores and create
Dialogue: 0,0:16:11.00,0:16:16.00,Default,,0000,0000,0000,,in this amateur ecology of creativity, their own version.
Dialogue: 0,0:16:16.00,0:16:20.00,Default,,0000,0000,0000,,which they then share and inspire others to create (...)
Dialogue: 0,0:16:20.00,0:16:23.00,Default,,0000,0000,0000,,This is what I refer to as remix. But what I want you to recognize
Dialogue: 0,0:16:23.00,0:16:27.00,Default,,0000,0000,0000,,is that it is what Souza was romanticizing
Dialogue: 0,0:16:27.00,0:16:31.00,Default,,0000,0000,0000,,when he spoke of young people getting together and singing the songs
Dialogue: 0,0:16:31.00,0:16:34.00,Default,,0000,0000,0000,,of the day or the old songs. But today, that getting together
Dialogue: 0,0:16:34.00,0:16:39.00,Default,,0000,0000,0000,,is not in the backyard, it is through this free digital platform
Dialogue: 0,0:16:39.00,0:16:42.00,Default,,0000,0000,0000,,that encourages people from around the world to participate
Dialogue: 0,0:16:42.00,0:16:46.00,Default,,0000,0000,0000,,in this act of cultural reinterpretation and share it
Dialogue: 0,0:16:46.00,0:16:51.00,Default,,0000,0000,0000,,in an ecology that does not trade on money, but an ecology
Dialogue: 0,0:16:51.00,0:16:54.00,Default,,0000,0000,0000,,that instead trades upon this activity of sharing.
Dialogue: 0,0:16:55.00,0:16:57.00,Default,,0000,0000,0000,,The internet has changed these 3 ecologies of creativity.
Dialogue: 0,0:16:57.00,0:17:02.00,Default,,0000,0000,0000,,But the question that this organisation needs to address is,
Dialogue: 0,0:17:02.00,0:17:07.00,Default,,0000,0000,0000,,has copyright kept up with the change in these ecologies?
Dialogue: 0,0:17:07.00,0:17:11.00,Default,,0000,0000,0000,,Has it kept up with the changes as they have affected
Dialogue: 0,0:17:11.00,0:17:16.00,Default,,0000,0000,0000,,these 3 ecologies? Now my own view of the answer to this question
Dialogue: 0,0:17:16.00,0:17:18.00,Default,,0000,0000,0000,,is quite simple: it has not
Dialogue: 0,0:17:18.00,0:17:24.00,Default,,0000,0000,0000,,It has failed. It has failed to assure the adequate incentives
Dialogue: 0,0:17:24.00,0:17:28.00,Default,,0000,0000,0000,,in the professional culture, and it has failed to protect
Dialogue: 0,0:17:28.00,0:17:33.00,Default,,0000,0000,0000,,the necessary freedoms in the amateur and critical or scientific culture.
Dialogue: 0,0:17:33.00,0:17:38.00,Default,,0000,0000,0000,,It has failed at both of its objectives and its failure is not
Dialogue: 0,0:17:38.00,0:17:45.00,Default,,0000,0000,0000,,an accident. Its failure is an implication of the architecture
Dialogue: 0,0:17:45.00,0:17:47.00,Default,,0000,0000,0000,,of copyright as we inherited it.
Dialogue: 0,0:17:47.00,0:17:52.00,Default,,0000,0000,0000,,This architecture makes no sense in the context of the digital environment.
Dialogue: 0,0:17:52.00,0:17:57.00,Default,,0000,0000,0000,,The architecture, which triggers the application of copyright law
Dialogue: 0,0:17:57.00,0:18:00.00,Default,,0000,0000,0000,,upon the production of a copy, in a digital environment
Dialogue: 0,0:18:00.00,0:18:07.00,Default,,0000,0000,0000,,makes no sense. It regulates too much, and it regulates too poorly.
Dialogue: 0,0:18:07.00,0:18:10.00,Default,,0000,0000,0000,,So think of a simple example of a book in physical space.
Dialogue: 0,0:18:10.00,0:18:13.00,Default,,0000,0000,0000,,If these are all the uses of a book in physical space,
Dialogue: 0,0:18:13.00,0:18:17.00,Default,,0000,0000,0000,,an important set of these uses are just technically unregulated
Dialogue: 0,0:18:17.00,0:18:20.00,Default,,0000,0000,0000,,by the law of copyright in physical in physical space.
Dialogue: 0,0:18:20.00,0:18:22.00,Default,,0000,0000,0000,,So to read a book is not a fair use of the book,
Dialogue: 0,0:18:22.00,0:18:26.00,Default,,0000,0000,0000,,it's a free use of the book, because to read a book is not to produce a copy.
Dialogue: 0,0:18:26.00,0:18:29.00,Default,,0000,0000,0000,,To give someone a book is not a fair use of the book,
Dialogue: 0,0:18:29.00,0:18:32.00,Default,,0000,0000,0000,,it's a free use of the book, because to give someone a book is not to produce a copy.
Dialogue: 0,0:18:32.00,0:18:35.00,Default,,0000,0000,0000,,To sell a book is explicitly exempted from the reach of © law
Dialogue: 0,0:18:35.00,0:18:38.00,Default,,0000,0000,0000,,in many jurisdictions, including the United States,
Dialogue: 0,0:18:38.00,0:18:40.00,Default,,0000,0000,0000,,because to sell a book is not to produce a copy.
Dialogue: 0,0:18:40.00,0:18:43.00,Default,,0000,0000,0000,,In no jurisdiction in the world is sleeping on a book a regulated act
Dialogue: 0,0:18:43.00,0:18:45.00,Default,,0000,0000,0000,,because to sleep on a book is not to produce a copy.
Dialogue: 0,0:18:45.00,0:18:52.00,Default,,0000,0000,0000,,These unregulated acts are then balanced by a set of necessary regulated acts,
Dialogue: 0,0:18:52.00,0:18:56.00,Default,,0000,0000,0000,,necessary to create the proper incentives to produce great new works.
Dialogue: 0,0:18:56.00,0:19:00.00,Default,,0000,0000,0000,,And then in the American tradition, there is a thin sliver of exceptions,
Dialogue: 0,0:19:00.00,0:19:03.00,Default,,0000,0000,0000,,acts that otherwise would have been regulated by the law
Dialogue: 0,0:19:03.00,0:19:06.00,Default,,0000,0000,0000,,but which the law says are to remain free
Dialogue: 0,0:19:06.00,0:19:09.00,Default,,0000,0000,0000,,so that culture can build upon those creative works
Dialogue: 0,0:19:09.00,0:19:12.00,Default,,0000,0000,0000,,in a way unhampered by the law. Enter the internet,
Dialogue: 0,0:19:12.00,0:19:16.00,Default,,0000,0000,0000,,where because a digital platform, every single use
Dialogue: 0,0:19:17.00,0:19:22.00,Default,,0000,0000,0000,,produces a copy. And we go from this balance of unregulated and regulated
Dialogue: 0,0:19:22.00,0:19:27.00,Default,,0000,0000,0000,,and fair uses, to a presumptively regulated use for every single use,
Dialogue: 0,0:19:27.00,0:19:30.00,Default,,0000,0000,0000,,merely because the platform through which we get
Dialogue: 0,0:19:30.00,0:19:33.00,Default,,0000,0000,0000,,access to our culture has changed. This is the consquence
Dialogue: 0,0:19:33.00,0:19:40.00,Default,,0000,0000,0000,,of an architecture, an architecture of copyright law, an architecture of digital technologies.
Dialogue: 0,0:19:40.00,0:19:42.00,Default,,0000,0000,0000,,It is that architecture that produced what Jessica spoke of
Dialogue: 0,0:19:42.00,0:19:46.00,Default,,0000,0000,0000,,when she said, "a world where we can't even go for an hour
Dialogue: 0,0:19:46.00,0:19:51.00,Default,,0000,0000,0000,,without colliding with copyright law", and the collision is a problem
Dialogue: 0,0:19:51.00,0:19:56.00,Default,,0000,0000,0000,,not with some generation that can't learn to respect the rules,
Dialogue: 0,0:19:56.00,0:20:01.00,Default,,0000,0000,0000,,it is a problem in the design of this system of regulation.
Dialogue: 0,0:20:03.00,0:20:11.00,Default,,0000,0000,0000,,Now 15 years into this revolution, where we're waging war
Dialogue: 0,0:20:11.00,0:20:14.00,Default,,0000,0000,0000,,- well, in the US we waged many wars, but the particular war here is the
Dialogue: 0,0:20:14.00,0:20:20.00,Default,,0000,0000,0000,,copyright wars - against the implications of this new technology,
Dialogue: 0,0:20:20.00,0:20:23.00,Default,,0000,0000,0000,,a war which my friend, the late Jack Valenti, former head of the
Dialogue: 0,0:20:23.00,0:20:27.00,Default,,0000,0000,0000,,Motion Pictures Association of America refered to as
Dialogue: 0,0:20:27.00,0:20:33.00,Default,,0000,0000,0000,,as his own "terrorist war", where apparently the terrorists in this war
Dialogue: 0,0:20:33.00,0:20:42.00,Default,,0000,0000,0000,,are our children, 15 years into this terrorist war, we need finally to recognize
Dialogue: 0,0:20:42.00,0:20:46.00,Default,,0000,0000,0000,,the failing, not of our kids, but of this architecture.
Dialogue: 0,0:20:46.00,0:20:53.00,Default,,0000,0000,0000,,And we need to fix it. So, how would we fix it?
Dialogue: 0,0:20:53.00,0:20:58.00,Default,,0000,0000,0000,,Well, I fling myself across the Atlantic to come to WIPO to say that
Dialogue: 0,0:20:58.00,0:21:03.00,Default,,0000,0000,0000,,WIPO must lead in this reform. And the reform has both
Dialogue: 0,0:21:03.00,0:21:07.00,Default,,0000,0000,0000,,a short term and a long term component.. In the short term,
Dialogue: 0,0:21:07.00,0:21:13.00,Default,,0000,0000,0000,,WIPO should be actively encouraging systems of voluntary licensing
Dialogue: 0,0:21:13.00,0:21:21.00,Default,,0000,0000,0000,,that create a better balance between the traditional ecologies
Dialogue: 0,0:21:21.00,0:21:24.00,Default,,0000,0000,0000,,of cultural production in the professional space
Dialogue: 0,0:21:24.00,0:21:29.00,Default,,0000,0000,0000,,and the amateur and scientific ecologies of creativity
Dialogue: 0,0:21:29.00,0:21:32.00,Default,,0000,0000,0000,,that I've also identified. That was the objective behind the project
Dialogue: 0,0:21:32.00,0:21:36.00,Default,,0000,0000,0000,,that I helped to found, called the Creative Commons project,
Dialogue: 0,0:21:36.00,0:21:41.00,Default,,0000,0000,0000,,which was to design a simple way for authors and copyright owners
Dialogue: 0,0:21:41.00,0:21:45.00,Default,,0000,0000,0000,,to mark their content with the freedoms that they intended it to carry.
Dialogue: 0,0:21:45.00,0:21:50.00,Default,,0000,0000,0000,,So rather than the default of All rights reserved, this was a Some rights reserved model
Dialogue: 0,0:21:50.00,0:21:53.00,Default,,0000,0000,0000,,reserving certain rights to the copyright owner,
Dialogue: 0,0:21:53.00,0:21:58.00,Default,,0000,0000,0000,,and releasing certain rights to the public.. You obtain this license
Dialogue: 0,0:21:58.00,0:22:01.00,Default,,0000,0000,0000,,by going to our site, or to a numberr of sites that have implemented it,
Dialogue: 0,0:22:01.00,0:22:06.00,Default,,0000,0000,0000,,independently, and selecting the uses or freedoms you'd like to allow.
Dialogue: 0,0:22:06.00,0:22:09.00,Default,,0000,0000,0000,,Would you like to allow others to make commercial use of your work?
Dialogue: 0,0:22:09.00,0:22:12.00,Default,,0000,0000,0000,,Do you want to allow others to make modifications, and if they make modifications,
Dialogue: 0,0:22:12.00,0:22:16.00,Default,,0000,0000,0000,,do you want to require that they release their modified work
Dialogue: 0,0:22:16.00,0:22:19.00,Default,,0000,0000,0000,,under a similar license, what we call "share alike".
Dialogue: 0,0:22:19.00,0:22:23.00,Default,,0000,0000,0000,,Those choices produce a license. And the thing to recognize is
Dialogue: 0,0:22:23.00,0:22:28.00,Default,,0000,0000,0000,,the way that these different licenses support these different ecologies
Dialogue: 0,0:22:28.00,0:22:33.00,Default,,0000,0000,0000,,differently. So the simplest and freest license, the attribution-only license,
Dialogue: 0,0:22:33.00,0:22:37.00,Default,,0000,0000,0000,,supports each of these ecologies, as it produces free resources
Dialogue: 0,0:22:37.00,0:22:40.00,Default,,0000,0000,0000,,that these ecologies can draw upon to do whatever
Dialogue: 0,0:22:40.00,0:22:44.00,Default,,0000,0000,0000,,each within these ecologies wants. The non commercial license
Dialogue: 0,0:22:44.00,0:22:49.00,Default,,0000,0000,0000,,however, supports the amateur ecology of creativity,
Dialogue: 0,0:22:49.00,0:22:53.00,Default,,0000,0000,0000,,allowing people to know that their work will be used by others
Dialogue: 0,0:22:53.00,0:22:58.00,Default,,0000,0000,0000,,according to the rules of sharing, not to the rules of buying and selling.
Dialogue: 0,0:22:58.00,0:23:04.00,Default,,0000,0000,0000,,And we've added, in this non commercial space, a - what we call a CC+ protocol
Dialogue: 0,0:23:04.00,0:23:10.00,Default,,0000,0000,0000,,that allows an option to click through to license for commercial purposes
Dialogue: 0,0:23:10.00,0:23:14.00,Default,,0000,0000,0000,,work that has been released to the world under non commercial terms.
Dialogue: 0,0:23:14.00,0:23:18.00,Default,,0000,0000,0000,,So you can release your photograph to be used and shared by people
Dialogue: 0,0:23:18.00,0:23:22.00,Default,,0000,0000,0000,,in a non commercial way, but have a simple transaction costfree way
Dialogue: 0,0:23:22.00,0:23:27.00,Default,,0000,0000,0000,,to link back to a licensing organization that could license the very same work
Dialogue: 0,0:23:27.00,0:23:32.00,Default,,0000,0000,0000,,for commercial purposes. The share alike license is designed to facilitate
Dialogue: 0,0:23:32.00,0:23:35.00,Default,,0000,0000,0000,,collaboration in both the professional and in amateur culture.
Dialogue: 0,0:23:35.00,0:23:40.00,Default,,0000,0000,0000,,This was the inspiration we took from the GNU-Linux operating system
Dialogue: 0,0:23:40.00,0:23:44.00,Default,,0000,0000,0000,,which of course is licensed under a similar copyleft license
Dialogue: 0,0:23:44.00,0:23:48.00,Default,,0000,0000,0000,,permitting commercial as well as non commercial developments
Dialogue: 0,0:23:48.00,0:23:52.00,Default,,0000,0000,0000,,and we've extended that to culture. And then just this year, we have released
Dialogue: 0,0:23:52.00,0:23:56.00,Default,,0000,0000,0000,,a set of protocols to facilitate marking work that's in the public domain
Dialogue: 0,0:23:56.00,0:24:01.00,Default,,0000,0000,0000,,or waiving rights that otherwise might exist, so that work can support
Dialogue: 0,0:24:01.00,0:24:04.00,Default,,0000,0000,0000,,once again each of these different ecologies in different ways.
Dialogue: 0,0:24:04.00,0:24:08.00,Default,,0000,0000,0000,,Last year was one of the most important years in the history of this organization.
Dialogue: 0,0:24:08.00,0:24:13.00,Default,,0000,0000,0000,,Al Jazeera announced that a huge archive of video material
Dialogue: 0,0:24:13.00,0:24:16.00,Default,,0000,0000,0000,,from the struggles in the Middle East would be available under a
Dialogue: 0,0:24:16.00,0:24:21.00,Default,,0000,0000,0000,,Attribution license only, meaning you can take their raw footage
Dialogue: 0,0:24:21.00,0:24:26.00,Default,,0000,0000,0000,,and use it in your film, or on your television station, or in your commercial applications,
Dialogue: 0,0:24:26.00,0:24:29.00,Default,,0000,0000,0000,,so long as you simply give attribution back to Al Jazeera
Dialogue: 0,0:24:29.00,0:24:33.00,Default,,0000,0000,0000,,The White House released its content under a Creative Commons license,
Dialogue: 0,0:24:33.00,0:24:37.00,Default,,0000,0000,0000,,Wikipedia increased - adopted the Creative Commons licenses,
Dialogue: 0,0:24:37.00,0:24:41.00,Default,,0000,0000,0000,,as the infrastructure for all of its licensed material.
Dialogue: 0,0:24:41.00,0:24:44.00,Default,,0000,0000,0000,,So that last year, we saw the biggest bump in the growth of the Creative Commons
Dialogue: 0,0:24:44.00,0:24:51.00,Default,,0000,0000,0000,,license projects since its inception, now marking at least 350 million objects on the web.
Dialogue: 0,0:24:51.00,0:24:56.00,Default,,0000,0000,0000,,Now my view is, organizations like WIPO, and WIPO in particular
Dialogue: 0,0:24:56.00,0:25:00.00,Default,,0000,0000,0000,,need to embrace this architecture, not just Creative Commons
Dialogue: 0,0:25:00.00,0:25:06.00,Default,,0000,0000,0000,,but any of these architectures that import and assert the value of
Dialogue: 0,0:25:06.00,0:25:10.00,Default,,0000,0000,0000,,copyright licenses. Of course, the Creative Commons is
Dialogue: 0,0:25:10.00,0:25:13.00,Default,,0000,0000,0000,,not an alternative to copyright, it builds on copyright.
Dialogue: 0,0:25:13.00,0:25:18.00,Default,,0000,0000,0000,,It's a simple, valid and traditional license that had as its primary intent
Dialogue: 0,0:25:18.00,0:25:23.00,Default,,0000,0000,0000,,supporting of these ecologies, of creativity.
Dialogue: 0,0:25:23.00,0:25:29.00,Default,,0000,0000,0000,,But in supporting these ecologies of creativity, it also supports a cross-over
Dialogue: 0,0:25:29.00,0:25:34.00,Default,,0000,0000,0000,,into the professional ecologies of creativity. And these licenses
Dialogue: 0,0:25:34.00,0:25:38.00,Default,,0000,0000,0000,,are valid and enforceable, as we just discovered this week, in a Belgian court,
Dialogue: 0,0:25:38.00,0:25:46.00,Default,,0000,0000,0000,,which gave this band a 4500 Euro award, a damages award, because their
Dialogue: 0,0:25:46.00,0:25:49.00,Default,,0000,0000,0000,,because their content was used in a way inconsistent with the Creative Commons license
Dialogue: 0,0:25:49.00,0:25:55.00,Default,,0000,0000,0000,,that it was released under, so that it protects the author to assure that their work
Dialogue: 0,0:25:55.00,0:26:01.00,Default,,0000,0000,0000,,is used in the way they intended, and keeps the copyright enforcement mechanism
Dialogue: 0,0:26:01.00,0:26:04.00,Default,,0000,0000,0000,,open for those who violate or go beyond those terms.
Dialogue: 0,0:26:04.00,0:26:08.00,Default,,0000,0000,0000,,Now, my view is that these voluntary systems are not enough.
Dialogue: 0,0:26:08.00,0:26:12.00,Default,,0000,0000,0000,,In addition to the voluntary systems, we are going to need changes
Dialogue: 0,0:26:12.00,0:26:16.00,Default,,0000,0000,0000,,in law, and this is where there's a longer term change that's required.
Dialogue: 0,0:26:16.00,0:26:21.00,Default,,0000,0000,0000,,And in my view, once again, WIPO has to lead this longer term change.
Dialogue: 0,0:26:21.00,0:26:26.00,Default,,0000,0000,0000,,And I want to very strongly endorse the suggestion that has been made
Dialogue: 0,0:26:26.00,0:26:32.00,Default,,0000,0000,0000,,by the Director General, that in the context of this longer term inquiry,
Dialogue: 0,0:26:32.00,0:26:36.00,Default,,0000,0000,0000,,WIPO needs to support something like a Blue Sky commission,
Dialogue: 0,0:26:36.00,0:26:42.00,Default,,0000,0000,0000,,a group that has the freedom to think about what architecture for copyright makes sense
Dialogue: 0,0:26:42.00,0:26:47.00,Default,,0000,0000,0000,,in the digital age, freed from the current implementation of copyright
Dialogue: 0,0:26:47.00,0:26:52.00,Default,,0000,0000,0000,,which we inherited from the analog stage of culture.
Dialogue: 0,0:26:52.00,0:26:58.00,Default,,0000,0000,0000,,Now my own view is that this conclusion of this commission will have certain recommendations
Dialogue: 0,0:26:58.00,0:27:03.00,Default,,0000,0000,0000,,for elements to any copyright system: They'll want that the system be simple.
Dialogue: 0,0:27:03.00,0:27:06.00,Default,,0000,0000,0000,,If copyright is going to regulate 15-year olds, it must be something that 15-year olds
Dialogue: 0,0:27:06.00,0:27:16.00,Default,,0000,0000,0000,,can understand. Right now, they don't. Indeed no one understands the full reach or complexity of copyright law.
Dialogue: 0,0:27:16.00,0:27:23.00,Default,,0000,0000,0000,,I've been studying it intensely for 15 years and still I make fundamental and obvious mistakes.
Dialogue: 0,0:27:23.00,0:27:27.00,Default,,0000,0000,0000,,It needs to be re-made to make it simple. And it can be re-made
Dialogue: 0,0:27:27.00,0:27:31.00,Default,,0000,0000,0000,,to be made simple, if that were an objective of the reform.
Dialogue: 0,0:27:31.00,0:27:36.00,Default,,0000,0000,0000,,Number 2, it needs to be efficient. Copyright is a property system.
Dialogue: 0,0:27:36.00,0:27:40.00,Default,,0000,0000,0000,,But it is also the most inefficient property system known to man.
Dialogue: 0,0:27:40.00,0:27:46.00,Default,,0000,0000,0000,,The simplest idea of a property system, to know who owns what,
Dialogue: 0,0:27:46.00,0:27:49.00,Default,,0000,0000,0000,,Under the current system. we can't know who owns what
Dialogue: 0,0:27:49.00,0:27:54.00,Default,,0000,0000,0000,,because the system has been architected to give up the infrastructure necessary
Dialogue: 0,0:27:54.00,0:28:01.00,Default,,0000,0000,0000,,to know who owns what. And the only remedy to address this problem is to go forward
Dialogue: 0,0:28:01.00,0:28:06.00,Default,,0000,0000,0000,,to a modern version of formalities, not at the moment of creation,
Dialogue: 0,0:28:06.00,0:28:11.00,Default,,0000,0000,0000,,but at least to maintain the rights under copyright. And in this respect, I'm happy to
Dialogue: 0,0:28:11.00,0:28:18.00,Default,,0000,0000,0000,,acknowledge that the RIAA and I agree about the importance of formalities in a digital architecture
Dialogue: 0,0:28:18.00,0:28:23.00,Default,,0000,0000,0000,,for copyright in the 21st century. They have expressly endorsed the idea
Dialogue: 0,0:28:23.00,0:28:27.00,Default,,0000,0000,0000,,of considering formalities as a way to deal with efficiency of copyright
Dialogue: 0,0:28:27.00,0:28:29.00,Default,,0000,0000,0000,,and I think that suggestion is absolutely right.
Dialogue: 0,0:28:29.00,0:28:35.00,Default,,0000,0000,0000,,Number 3: the law has to be targeted. It means to regulate selectively.
Dialogue: 0,0:28:35.00,0:28:41.00,Default,,0000,0000,0000,,So if we think about the difference between taking whole copies of another person's work,
Dialogue: 0,0:28:41.00,0:28:45.00,Default,,0000,0000,0000,,and remixing that work, and the difference between the professional and the amateur
Dialogue: 0,0:28:45.00,0:28:50.00,Default,,0000,0000,0000,,I apologize, I'm an academic, I can't help but thinking in matrix like this,
Dialogue: 0,0:28:51.00,0:28:55.00,Default,,0000,0000,0000,,we have a matrix like this. And copyright now presumes to regulate all of these
Dialogue: 0,0:28:55.00,0:29:01.00,Default,,0000,0000,0000,,spaces. But that presumption makes no sense. Copyright, of course, needs to regulate
Dialogue: 0,0:29:01.00,0:29:08.00,Default,,0000,0000,0000,,effectively and efficiently, to stop professionals from pirating copies of other people's
Dialogue: 0,0:29:08.00,0:29:13.00,Default,,0000,0000,0000,,copyrighted work. That needs to be regulated as the core area
Dialogue: 0,0:29:13.00,0:29:19.00,Default,,0000,0000,0000,,of copyright's regulation. But just as obviously, amateurs' remixing other people's work
Dialogue: 0,0:29:19.00,0:29:23.00,Default,,0000,0000,0000,,should be free of copyright's regulation. Not fair use, but free use.
Dialogue: 0,0:29:23.00,0:29:28.00,Default,,0000,0000,0000,,There should be a presumption that such use is outside of the reach of copyright,
Dialogue: 0,0:29:28.00,0:29:34.00,Default,,0000,0000,0000,,and that presumption should guide and encourage this amateur building upon
Dialogue: 0,0:29:34.00,0:29:39.00,Default,,0000,0000,0000,,our cultural past. And then in the middle there are cases that are more mixed and more complicated,
Dialogue: 0,0:29:39.00,0:29:45.00,Default,,0000,0000,0000,,where the law needs to carefully figure out how to assure that the incentives are protected
Dialogue: 0,0:29:45.00,0:29:50.00,Default,,0000,0000,0000,,while the freedoms are assured. But the point about this model is to see
Dialogue: 0,0:29:50.00,0:29:54.00,Default,,0000,0000,0000,,that the objective needs to be, to deregulate a significant space of culture
Dialogue: 0,0:29:54.00,0:30:00.00,Default,,0000,0000,0000,,relative to the current architecture of copyright and to focus regulation where it can do some good.
Dialogue: 0,0:30:00.00,0:30:04.00,Default,,0000,0000,0000,,Number 4 the law must be effective, it must actually work,
Dialogue: 0,0:30:04.00,0:30:11.00,Default,,0000,0000,0000,,in the sense of it getting artists paid, and as any artist will tell you, the current system of copyright
Dialogue: 0,0:30:11.00,0:30:14.00,Default,,0000,0000,0000,,doesn't actually do that well.
Dialogue: 0,0:30:14.00,0:30:19.00,Default,,0000,0000,0000,,And finally number 5: it needs to be realistic about the capacity of law
Dialogue: 0,0:30:19.00,0:30:23.00,Default,,0000,0000,0000,,to regulate human behavior. If you think about the problem of P2P
Dialogue: 0,0:30:23.00,0:30:28.00,Default,,0000,0000,0000,,file-sharing internationally; what people refer to as "piracy"
Dialogue: 0,0:30:28.00,0:30:35.00,Default,,0000,0000,0000,,well, just after a decade into this war, a war which has totally failed.
Dialogue: 0,0:30:35.00,0:30:39.00,Default,,0000,0000,0000,,The objective has been to eliminate copyright "piracy".
Dialogue: 0,0:30:39.00,0:30:44.00,Default,,0000,0000,0000,,Now I know the response of some to a totally failed war, maybe
Dialogue: 0,0:30:44.00,0:30:49.00,Default,,0000,0000,0000,,some from my part of the world, is to continue to wage an ever more effective war
Dialogue: 0,0:30:49.00,0:30:54.00,Default,,0000,0000,0000,,against the enemy, to up the stakes, to punish more vigorously
Dialogue: 0,0:30:54.00,0:30:58.00,Default,,0000,0000,0000,,to win the war. My suggestion is we adopt the opposite response.
Dialogue: 0,0:30:58.00,0:31:04.00,Default,,0000,0000,0000,,that we find a way to sue for peace here, and adopt proposals
Dialogue: 0,0:31:04.00,0:31:07.00,Default,,0000,0000,0000,,where the compulsory licenses are voluntary collective licenses
Dialogue: 0,0:31:07.00,0:31:12.00,Default,,0000,0000,0000,,which achieve the objectives of copyright to compensate artists
Dialogue: 0,0:31:13.00,0:31:19.00,Default,,0000,0000,0000,,without achieving the insufficient objectives that the current regime has done.
Dialogue: 0,0:31:19.00,0:31:26.00,Default,,0000,0000,0000,,And we should recognize that if we had had those systems in place a decade ago,
Dialogue: 0,0:31:26.00,0:31:31.00,Default,,0000,0000,0000,,when they were first suggested by people suggesting changes to the existing regime
Dialogue: 0,0:31:31.00,0:31:35.00,Default,,0000,0000,0000,,then over the last decade, artists would have received more money
Dialogue: 0,0:31:35.00,0:31:40.00,Default,,0000,0000,0000,,then they did under the current system, because under the current system, P2P file-sharing
Dialogue: 0,0:31:40.00,0:31:45.00,Default,,0000,0000,0000,,rewards nobody except the lawyers suing to stop P2P file sharing.
Dialogue: 0,0:31:45.00,0:31:49.00,Default,,0000,0000,0000,,Businesses would have seen more competition, as more would have been encouraged to engage
Dialogue: 0,0:31:49.00,0:31:55.00,Default,,0000,0000,0000,,in a behavior that built upon this kind of creative use, because the rules would have been clearer
Dialogue: 0,0:31:55.00,0:32:01.00,Default,,0000,0000,0000,,but to me, the most important feature, as a father of three young children,
Dialogue: 0,0:32:01.00,0:32:05.00,Default,,0000,0000,0000,,is that we would not have had a generation of criminals that have grown up
Dialogue: 0,0:32:05.00,0:32:09.00,Default,,0000,0000,0000,,being told by us that they are criminals and internalizing the idea
Dialogue: 0,0:32:09.00,0:32:13.00,Default,,0000,0000,0000,,that they are criminals and living life according to that internalized idea.
Dialogue: 0,0:32:13.00,0:32:18.00,Default,,0000,0000,0000,,The objective of this Blue Sky commission will be to launch at least a 5-year process
Dialogue: 0,0:32:18.00,0:32:23.00,Default,,0000,0000,0000,,to map what we could think of as Bern 2, or I would encourage you to come to Boston
Dialogue: 0,0:32:23.00,0:32:27.00,Default,,0000,0000,0000,,and do it in Boston as Boston 1, but they could begin to think about a system
Dialogue: 0,0:32:27.00,0:32:33.00,Default,,0000,0000,0000,,here that could work in the context of this digital culture. Now let me end with just one more
Dialogue: 0,0:32:33.00,0:32:38.00,Default,,0000,0000,0000,,reflection. So I was once asked to come participate in an event here,
Dialogue: 0,0:32:38.00,0:32:43.00,Default,,0000,0000,0000,,at the Association of the Bar of the city of New York. Bill Patry, who I think is going to speak
Dialogue: 0,0:32:43.00,0:32:50.00,Default,,0000,0000,0000,,later, was at this event with me. The room for this event is this beautiful room
Dialogue: 0,0:32:50.00,0:32:55.00,Default,,0000,0000,0000,,with these red velvet drapes and this red carpet. And the event was packed
Dialogue: 0,0:32:55.00,0:32:59.00,Default,,0000,0000,0000,,with a wide range of people, from artists and creators and at least some lawyers
Dialogue: 0,0:32:59.00,0:33:08.00,Default,,0000,0000,0000,,all eager to learn how the system of fair use could support their own form of digital creativity.
Dialogue: 0,0:33:08.00,0:33:15.00,Default,,0000,0000,0000,,In American law, fair use has four components, four elements, and so the organizers of this event
Dialogue: 0,0:33:15.00,0:33:20.00,Default,,0000,0000,0000,,decided they would ask 4 lawyers to speak for 15 minutes on each of these 4 elements.
Dialogue: 0,0:33:20.00,0:33:25.00,Default,,0000,0000,0000,,And the theory was, after an hour, the audience would understand the law of fair use
Dialogue: 0,0:33:25.00,0:33:30.00,Default,,0000,0000,0000,,and go out and create consistent with the law. But as I sat there and I looked out at the audience
Dialogue: 0,0:33:30.00,0:33:35.00,Default,,0000,0000,0000,,the reaction after about an hour was more like this. And that reaction
Dialogue: 0,0:33:35.00,0:33:41.00,Default,,0000,0000,0000,,lead me to a kind of daydreaming, which was, as I looked out at this room, I began to wonder
Dialogue: 0,0:33:41.00,0:33:46.00,Default,,0000,0000,0000,,what it reminded me of. Because I knew there was something that room reminded me of
Dialogue: 0,0:33:46.00,0:33:51.00,Default,,0000,0000,0000,,with its colors and its drama. And I realized that it reminded me of something I used to do
Dialogue: 0,0:33:51.00,0:33:56.00,Default,,0000,0000,0000,,as a kid. Just after college I spent a long time traveling through this part of the world
Dialogue: 0,0:33:56.00,0:34:03.00,Default,,0000,0000,0000,,and focused on this system of government. And I thought, as I was sitting there
Dialogue: 0,0:34:03.00,0:34:07.00,Default,,0000,0000,0000,,looking out in the room, I began to have a daydream about when was it, in the history
Dialogue: 0,0:34:07.00,0:34:13.00,Default,,0000,0000,0000,,of the Soviet system, that you could have convinced members of the Politburo
Dialogue: 0,0:34:13.00,0:34:18.00,Default,,0000,0000,0000,,that the system had failed. When, in history? I mean 1976 was way too early:
Dialogue: 0,0:34:18.00,0:34:23.00,Default,,0000,0000,0000,,It was puttering along and working pretty well in 1976. 1989 was too late: if they didn't
Dialogue: 0,0:34:23.00,0:34:27.00,Default,,0000,0000,0000,,get it by 1989, they were never going to get it, right? So when was it, between
Dialogue: 0,0:34:27.00,0:34:31.00,Default,,0000,0000,0000,,1976 and 1989 that they would have gotten it? And more importantly
Dialogue: 0,0:34:31.00,0:34:36.00,Default,,0000,0000,0000,,what could you have said to them to convince them that this romantic idea that
Dialogue: 0,0:34:36.00,0:34:41.00,Default,,0000,0000,0000,,they had grown up with had crashed and burnt, and to continue with the Soviet system was
Dialogue: 0,0:34:41.00,0:34:49.00,Default,,0000,0000,0000,,to betray a certain kind of insanity? Because, as I listened to this debate among lawyers,
Dialogue: 0,0:34:49.00,0:34:54.00,Default,,0000,0000,0000,,at least those of us in the United States, who engage in this debate
Dialogue: 0,0:34:54.00,0:34:58.00,Default,,0000,0000,0000,,lawyers who insist that nothing has changed, the same rules apply,
Dialogue: 0,0:34:58.00,0:35:02.00,Default,,0000,0000,0000,,it's the pirates who are the deviants - they might be right about that - but it's the pirates
Dialogue: 0,0:35:02.00,0:35:09.00,Default,,0000,0000,0000,,who are the deviants, I begin to believe that it is we who are insane, here.
Dialogue: 0,0:35:09.00,0:35:14.00,Default,,0000,0000,0000,,The existing system of copyright could never work
Dialogue: 0,0:35:14.00,0:35:20.00,Default,,0000,0000,0000,,in the digital architecture of the internet. Either it will force people to stop creating, or
Dialogue: 0,0:35:20.00,0:35:25.00,Default,,0000,0000,0000,,it will force a revolution. And both options, in my view, are not acceptable.
Dialogue: 0,0:35:25.00,0:35:33.00,Default,,0000,0000,0000,,We, especially here, need to recognize, there is a growing copyright abolitionist movement out there.
Dialogue: 0,0:35:33.00,0:35:38.00,Default,,0000,0000,0000,,People who believe that copyright might have been a good idea for other centuries
Dialogue: 0,0:35:38.00,0:35:44.00,Default,,0000,0000,0000,,it makes no sense in the modern era. I am against abolitionism.
Dialogue: 0,0:35:44.00,0:35:49.00,Default,,0000,0000,0000,,In this sense, I feel more like Gorbachov than I feel like Yeltsin
Dialogue: 0,0:35:49.00,0:35:53.00,Default,,0000,0000,0000,,Right, I feel like an old communist who's just trying to preserve this system
Dialogue: 0,0:35:53.00,0:36:00.00,Default,,0000,0000,0000,,in a new era. And I wage this war against these two extremisms. Because both extremisms
Dialogue: 0,0:36:00.00,0:36:05.00,Default,,0000,0000,0000,,are going to lead to the destruction of the core value of copyright.
Dialogue: 0,0:36:05.00,0:36:12.00,Default,,0000,0000,0000,,Now if and only if, in my view, WIPO leads in this debate, will we have the chance
Dialogue: 0,0:36:12.00,0:36:17.00,Default,,0000,0000,0000,,to avoid these extremisms. Now most people around the world don't care
Dialogue: 0,0:36:17.00,0:36:22.00,Default,,0000,0000,0000,,about preserving copyright. So one last plea, if you are in that camp,
Dialogue: 0,0:36:22.00,0:36:27.00,Default,,0000,0000,0000,,not likely if you're here, but one last plea: we all need to recognize
Dialogue: 0,0:36:27.00,0:36:31.00,Default,,0000,0000,0000,,we're not going to kill these technologies. We can only criminalize them.
Dialogue: 0,0:36:31.00,0:36:37.00,Default,,0000,0000,0000,,We're not going to stop our kids from being creative in a way that I at least was not creative
Dialogue: 0,0:36:37.00,0:36:41.00,Default,,0000,0000,0000,,as I grew up in the last century, we can only drive their creativity underground.
Dialogue: 0,0:36:41.00,0:36:46.00,Default,,0000,0000,0000,,We're not going to make the passive. We can only make the pirates.
Dialogue: 0,0:36:46.00,0:36:52.00,Default,,0000,0000,0000,,And the question we have to ask is whether that is good for free societies.
Dialogue: 0,0:36:52.00,0:36:58.00,Default,,0000,0000,0000,,In America, kids live in an age of prohibition. All sorts of activities in their lives are
Dialogue: 0,0:36:58.00,0:37:03.00,Default,,0000,0000,0000,,technically against the law, and they live life against the law.
Dialogue: 0,0:37:03.00,0:37:11.00,Default,,0000,0000,0000,,But that way of living life is corrosive and corrupting of the rule of law
Dialogue: 0,0:37:11.00,0:37:18.00,Default,,0000,0000,0000,,in a democracy. This entity needs to lead the copyright system out
Dialogue: 0,0:37:18.00,0:37:25.00,Default,,0000,0000,0000,,of that regime of corrupting law violations. And I urge, after 15 years
Dialogue: 0,0:37:25.00,0:37:29.00,Default,,0000,0000,0000,,that we at least start that process now. Thank you very much.
Dialogue: 0,0:37:29.00,0:37:39.00,Default,,0000,0000,0000,,(applause)