[Music]
[Music]
member
[Music]
I come to you from Los Angeles home of
Hollywood studios and digital innovators
to speak about the future of copyright
law how do we peer 20 years into the
future by going backwards 500 years ago
right here in Rome a lively history of
book publication helps to set the stage
first we have to put it in context a few
years earlier Eliyahu Hanavi Bacoor put
the finishing touches on his book of
Hebrew grammar journey on the paths of
knowledge but a catastrophe broke out in
his hometown of Padua and he was forced
to flee an interloper got a hold of the
manuscript and published it under his
own name a whore received nothing based
on that experience when before came to
Rome he acted to safeguard his interests
st. peter’s basilica was not yet
constructed but the vatican on whose
soil you’re sitting today was already
long in operation of course thanks to
the intercession of Cardinal Petrus
adidas mejor received a papal privilege
in his work he also turned surprisingly
to the rabbi’s of Rome for a comparable
grant and they accommodated him by
granting the world’s first kitab dot a
rabbinic privilege in one and the same
work thus we see that the seeds were
sown 500 years ago for the development
of copyright here in Rome based on the
unique cultural circumstances of the
time as well as the technology extant at
the beginning of the sixteenth century
those circumstances were not limited to
Italy at the same time the King granted
the first royal privilege in England
to the book that you see cited published
by Richard Kinson now at this time in
its development the printing press was
suitable for producing books it did not
yet extend to the other arts than extant
such as painting and music admittedly my
focus is rather parochial the vast
majority of humankind was not concerned
with book production nor with the legal
protection for books rather almost
everyone alive was working then in
agriculture or else in the new
technologies made possible by
Renaissance advances law arises in
response to the social situation of
mankind and thus we see a host of
regulations arising as to those
industries that were developing and as
to the rules in agriculture within that
panoply copyright was but a small player
and yet there were many developments in
the field of copyright of which I have
time to tell you about only one the main
division in the field is between the
anglo-american scheme which we can call
copyright and was what what is followed
here on the continent the dois toto
system copyright is an instrumentalist
device designed to give an incentive to
authors by rewarding them for the works
that they create on the other hand the
dois total system emphasizes the natural
and inherent bond between author and
artistic progeny copyright therefore is
based on economics whereas dois doto is
based more on the moral rights
underlying the system if we go ahead
four hundred and fifty years
we see that not that much happened in
the interim 50 years ago in order to
distribute books and large quantities
you still needed to have access to a
printing press and the same thing
applied to those who wish to distribute
music 40 years ago or even
motion-picture 30 years ago but today
everything is different
thanks to the internet works can be
published and disseminated all across
the globe a turning point happened in
1994 when a lyricist for the Grateful
Dead and co-founder of the Electronic
Frontier Foundation published a digital
manifesto in Wired magazine proclaiming
the death of copyright under the mantra
information wants to be free the reality
is more nuanced as Stuart brand pointed
out ten years earlier information does
want to be free because it is so cheap
to distribute paradoxically though
information wants to be expensive
because it is so valuable
we see ourselves at an inflection point
equivalent perhaps to what happened in
the Renaissance with the development of
the printing press and the upheaval is
all over
throughout the law and especially in the
law of copyright the zeitgeist has
responded we can find many articles
calling copyright the enemy of free
expression
indeed the tension plays out in two
books with similar names on the one hand
says wired editor Chris Anderson free is
the natural price point for all works of
authorship on the other responds
journalist Robert Levine those who take
advantage of Napster and its successors
are digital parasites sucking the life
out of culture
indeed the word free itself is a
misnomer as it arises only when someone
has made a considerable investment in
hardware when people obtain music or
movies for free it could be that the
Creator is getting nothing but that does
not mean that nobody is profiting in the
process so where does all this take us a
book that was published earlier this
week gives the prediction of futurist
Vivek Wadhwa he previewed it already in
the press the first proposition is the
familiar trope anything that can be
digitized will be the second one is also
not far from our consciousness given the
radical changes we have seen in so many
labor markets your job has a significant
chance of being eliminated when you lose
your job the natural tendency would be
for you to look for a new job and yet
maybe even that will change life could
become so affordable that you will not
even need to have a job the dismal
science of economics will fall away in
that future world of Plenty so how will
you spend your time when all is leisure
by starting a blog
perhaps by watching your daughter and
her grandmother combine to make a video
mashup or as hip-hop
all up and down the block people might
be creating new sculptures and poems and
videogames life can be lived for the
sake of art as was available in the past
only to a privileged few
[Music]
Hey
in this future everyone gets to be a
diva James Cameron will still direct but
he will be in head-to-head competition
with the fifteen-year-old next door and
another from rural India each can
continue to hone their art regardless of
popularity now I do not know if wide
buzz vision will be the accurate
prediction twenty years from now but if
it is we will see upheaval across
numerous industries and as those
industries cease to exist the law will
fall away that govern them what will
remain however is the law for the works
of authorship that people will continue
to create and thus copyright law will
remain with us but that field itself
must change I’ve already told you that
copyright derived from the Royal
privilege and indeed even to this day
the word that is used for the money
earned by authors is a royalty so in
that future world where people are not
working jobs for money that situation no
longer pertains how then does
anglo-american copyright law give a
reward to authors for creating works
well the interesting answer is that
reward comes through the recognition
that those authors garner and
wonderfully that device is exactly the
same one that has always undergirded
continental theory in the doís a la
fecha límite the attribution right this
perspective also brings together the two
views that we also that we already saw
from those complementary books Robert
Levine is correct that authors who
create works must retain the ability to
control them but Chris Anderson all
so has a point that if nobody is working
for money then authors too will give it
away for free this focus on control
brings our fundamental word author back
to its Latin cognates authors must have
the authority to authorize the works
that they create
art can be its own reward
seamlessly integrated with life for
those who love to create and we are all
natural-born storytellers the difference
is in the future we will no longer need
to punch a time clock so my journey from
Los Angeles which means the Angels ends
right next door at the Castel
Sant’Angelo also named after an angel
these ruminations evoke the better
angels of our nature in this vision
copyright law leads us towards a
brighter future thank you
[Applause]
[Music]
member
[Music]
I come to you from Los Angeles home of
Hollywood studios and digital innovators
to speak about the future of copyright
law how do we peer 20 years into the
future by going backwards 500 years ago
right here in Rome a lively history of
book publication helps to set the stage
first we have to put it in context a few
years earlier Eliyahu Hanavi Bacoor put
the finishing touches on his book of
Hebrew grammar journey on the paths of
knowledge but a catastrophe broke out in
his hometown of Padua and he was forced
to flee an interloper got a hold of the
manuscript and published it under his
own name a whore received nothing based
on that experience when before came to
Rome he acted to safeguard his interests
st. peter’s basilica was not yet
constructed but the vatican on whose
soil you’re sitting today was already
long in operation of course thanks to
the intercession of Cardinal Petrus
adidas mejor received a papal privilege
in his work he also turned surprisingly
to the rabbi’s of Rome for a comparable
grant and they accommodated him by
granting the world’s first kitab dot a
rabbinic privilege in one and the same
work thus we see that the seeds were
sown 500 years ago for the development
of copyright here in Rome based on the
unique cultural circumstances of the
time as well as the technology extant at
the beginning of the sixteenth century
those circumstances were not limited to
Italy at the same time the King granted
the first royal privilege in England
to the book that you see cited published
by Richard Kinson now at this time in
its development the printing press was
suitable for producing books it did not
yet extend to the other arts than extant
such as painting and music admittedly my
focus is rather parochial the vast
majority of humankind was not concerned
with book production nor with the legal
protection for books rather almost
everyone alive was working then in
agriculture or else in the new
technologies made possible by
Renaissance advances law arises in
response to the social situation of
mankind and thus we see a host of
regulations arising as to those
industries that were developing and as
to the rules in agriculture within that
panoply copyright was but a small player
and yet there were many developments in
the field of copyright of which I have
time to tell you about only one the main
division in the field is between the
anglo-american scheme which we can call
copyright and was what what is followed
here on the continent the dois toto
system copyright is an instrumentalist
device designed to give an incentive to
authors by rewarding them for the works
that they create on the other hand the
dois total system emphasizes the natural
and inherent bond between author and
artistic progeny copyright therefore is
based on economics whereas dois doto is
based more on the moral rights
underlying the system if we go ahead
four hundred and fifty years
we see that not that much happened in
the interim 50 years ago in order to
distribute books and large quantities
you still needed to have access to a
printing press and the same thing
applied to those who wish to distribute
music 40 years ago or even
motion-picture 30 years ago but today
everything is different
thanks to the internet works can be
published and disseminated all across
the globe a turning point happened in
1994 when a lyricist for the Grateful
Dead and co-founder of the Electronic
Frontier Foundation published a digital
manifesto in Wired magazine proclaiming
the death of copyright under the mantra
information wants to be free the reality
is more nuanced as Stuart brand pointed
out ten years earlier information does
want to be free because it is so cheap
to distribute paradoxically though
information wants to be expensive
because it is so valuable
we see ourselves at an inflection point
equivalent perhaps to what happened in
the Renaissance with the development of
the printing press and the upheaval is
all over
throughout the law and especially in the
law of copyright the zeitgeist has
responded we can find many articles
calling copyright the enemy of free
expression
indeed the tension plays out in two
books with similar names on the one hand
says wired editor Chris Anderson free is
the natural price point for all works of
authorship on the other responds
journalist Robert Levine those who take
advantage of Napster and its successors
are digital parasites sucking the life
out of culture
indeed the word free itself is a
misnomer as it arises only when someone
has made a considerable investment in
hardware when people obtain music or
movies for free it could be that the
Creator is getting nothing but that does
not mean that nobody is profiting in the
process so where does all this take us a
book that was published earlier this
week gives the prediction of futurist
Vivek Wadhwa he previewed it already in
the press the first proposition is the
familiar trope anything that can be
digitized will be the second one is also
not far from our consciousness given the
radical changes we have seen in so many
labor markets your job has a significant
chance of being eliminated when you lose
your job the natural tendency would be
for you to look for a new job and yet
maybe even that will change life could
become so affordable that you will not
even need to have a job the dismal
science of economics will fall away in
that future world of Plenty so how will
you spend your time when all is leisure
by starting a blog
perhaps by watching your daughter and
her grandmother combine to make a video
mashup or as hip-hop
all up and down the block people might
be creating new sculptures and poems and
videogames life can be lived for the
sake of art as was available in the past
only to a privileged few
[Music]
Hey
in this future everyone gets to be a
diva James Cameron will still direct but
he will be in head-to-head competition
with the fifteen-year-old next door and
another from rural India each can
continue to hone their art regardless of
popularity now I do not know if wide
buzz vision will be the accurate
prediction twenty years from now but if
it is we will see upheaval across
numerous industries and as those
industries cease to exist the law will
fall away that govern them what will
remain however is the law for the works
of authorship that people will continue
to create and thus copyright law will
remain with us but that field itself
must change I’ve already told you that
copyright derived from the Royal
privilege and indeed even to this day
the word that is used for the money
earned by authors is a royalty so in
that future world where people are not
working jobs for money that situation no
longer pertains how then does
anglo-american copyright law give a
reward to authors for creating works
well the interesting answer is that
reward comes through the recognition
that those authors garner and
wonderfully that device is exactly the
same one that has always undergirded
continental theory in the doís a la
fecha límite the attribution right this
perspective also brings together the two
views that we also that we already saw
from those complementary books Robert
Levine is correct that authors who
create works must retain the ability to
control them but Chris Anderson all
so has a point that if nobody is working
for money then authors too will give it
away for free this focus on control
brings our fundamental word author back
to its Latin cognates authors must have
the authority to authorize the works
that they create
art can be its own reward
seamlessly integrated with life for
those who love to create and we are all
natural-born storytellers the difference
is in the future we will no longer need
to punch a time clock so my journey from
Los Angeles which means the Angels ends
right next door at the Castel
Sant’Angelo also named after an angel
these ruminations evoke the better
angels of our nature in this vision
copyright law leads us towards a
brighter future thank you
[Applause]
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