In sharply argued, fast-moving chapters, Cory Doctorow’s Information Doesn’t Want to Be Free takes on the state of copyright and creative success in the digital age. Can small artists still thrive in the Internet era? Can giant record labels avoid alienating their audiences? This is a book about the pitfalls and the opportunities that creative industries (and individuals) are confronting today about how the old models have failed or found new footing, and about what might soon replace them. An essential read for anyone with a stake in the future of the arts, Information Doesn’t Want to Be Free offers a vivid guide to the ways creativity and the Internet interact today, and to what might be coming next.
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About the Author
Cory Doctorow is a science fiction author, activist, journalist, and blogger, as well as the coeditor of Boing Boing (boingboing.net) and the author of young adult novels like Homeland, Pirate Cinema, and Little Brother and novels for adults including Rapture of the Nerds and Makers. The former European director of the Electronic Frontier Foundation and cofounder of the U.K. Open Rights Group, he lives in London.
Most Helpful Customer Reviews
Information Doesn't Want to Be Free: Laws for the Internet Age based on 0 ratings. 1 reviews.
We live in a world that changes faster than we can adapt to it. Trying to keep up with the revolution in arts and technology is like trying not to drown with heavy weights tied to you. In the past, there were restricted distribution channels for most types of artistic creator (musician, writer, filmmaker, etc). Now all bets are off, and there are myriad ways to connect with an audience for any kind of artistic endeavor. Yet the question arises of compensation for the artist, in an environment of instant mass distribution and overwhelming amounts of free content. How does an artistic content provider make any kind of living for producing good art? Doctorow explores this field, with authority and empathy. He shows us news ways of thinking, and how some of the old distributors (like record companies and publishing houses) are incredibly resistant to the new ways, not understanding they run the risk of becoming left behind in the dustbin of history. For the "survival of the fittest" really means "survival of the most adaptable." It is a necessary book, a must-read, for any person attempting to understand how things work for an artisan dealing in any capacity with a business environment. While commerce and art seem dissimilar, any artist who desires something more substantial than recognition alone must be cognizant of the concepts presented here. This book is a valuable addition to our understanding of the modern world.