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Lawrence Lessig

Lawrence Lessig
Lawrence "Larry" Lessig (born June 3, 1961) is an American academic and political activist. He is a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications, and he has called for state-based activism to promote substantive reform of government with a Second Constitutional Convention.[1] In May 2014, he launched a crowd-funded political action committee which he termed Mayday PAC with the purpose of electing candidates to Congress who would pass campaign finance reform.[2] Lessig is director of the Edmond J. Academic career[edit] Interview with Lawrence Lessig in 2009 Born in Rapid City, South Dakota, Lessig grew up in Williamsport, Pennsylvania, and earned a B.A. in Economics and a B.S. in Management (Wharton School) from the University of Pennsylvania, an M.A. in philosophy from the University of Cambridge (Trinity) in England, and a Juris Doctor from Yale Law School in 1989. Political activism[edit] Golan v.

digital networks as medium for embodied knowledge dance-tech project explores the potential of the new Internet technologies for knowledge production and distribution on body based artistic practices and it's intersections with other disciplines such as new media, architecture, philosophy, anthropology and more. All dance-tech projects attempt to place situated embodiment as a fundamental condition and movement arts as relevant practices to contemporaneity with interdisciplinary framework. dance-tech is conceived as a tactical media project and it aims to develop and maintain a series of online and hybrid collaborative platforms for the interdisciplinary explorers of the performance of movement, innovators and emergent performance practices. It develops as an experimental, adaptable and changing pedagogical intervention on the knowledge distribution systems of contemporary performance and their contexts. It seeks to systematically and flexibly, explore the changing new media landscape and its openness for creative and social innovation.

The Future of Ideas The Future of Ideas: The Fate of the Commons in a Connected World (2001) is a book by Lawrence Lessig, at the time of writing a professor of law at Stanford Law School, who is well known as a critic of the extension of the copyright term in US.[1] It is a continuation of his previous book Code and Other Laws of Cyberspace, which is about how computer programs can restrict freedom of ideas in cyberspace. While copyright helps artists get rewarded for their work, Lessig warns that a copyright regime that is too strict and grants copyright for too long a period of time (e.g. the current US legal climate) can destroy innovation, as the future always builds on the past.[2] Lessig also discusses recent movements by corporate interests to promote longer and tighter protection of intellectual property in three layers: the code layer, the content layer, and the physical layer. The code layer is that which is controlled by computer programs. Editions[edit] References[edit] External links[edit]

Comprendre le procès Apple/Samsung en 97 secondes Envie d'un contenu léger, facile à digérer en ce week-end ? Aucun souci, nous avons trouvé pour vous un récapitulatif en vidéo de l'affaire opposant Samsung à Apple. 97 secondes : c’est le temps qu’il aura fallu aux auteurs de la vidéo qui suit pour résumer de manière mine de rien assez précise les tenants et aboutissants de la complexe affaire opposant Samsung à Apple, et concernant également Google, et par extension, Motorola. Cette affaire pourrait prochainement prendre un tournant inattendu : Samsung ayant lancé il y a quelques jours de cela le discrédit sur le président du jury ayant influencé la décision du verdict rendu en août dernier, et obligeant la firme coréene à verser 1 milliard de dollars à son concurrent.

MotionBank and Other Choreographic Media Tools Workshop@ HZT Berlin In this workshop several choreographic media tools will be introduced and worked with. Among those are digital publications of recent years: Steve Paxton: Material for the Spine (DVD-rom, 2008)Anne Teresa de Keersmaeker/ Rosas: A Choreographer's Score (4 DVDs, 2012)William Forsythe: Synchronous Objects (web-based, 2009)Motion Bank -scores by Deborah Hay,Jonathan Burrows and Matteo Fargion The Siobhan Davies Archive project (web-based, 2007)meta-academy@bates 2013 on the work of Nancy Stark Smith The contents of these digital dance and choreography tools all have their origin in the choreographic and dance practice.How can these ideas/ contents be transferred back into the studio and how can individual questions and interests be formulated towards these propositions? After short introductions during the first days, the focus will be on a practice lead exploration of these tools. See this visualisation the evolution of the content and resources:

Free Culture (book) Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (published in paperback as Free Culture: The Nature and Future of Creativity) is a 2004 book by law professor Lawrence Lessig that was released on the Internet under the Creative Commons Attribution/Non-commercial license (by-nc 1.0) on March 25, 2004. duration (from 32 to 95 years),scope (from publishers to virtually everyone),reach (to every view on a computer),control (including "derivative works" defined so broadly that virtually any new content could be sued by some copyright holder as a "derivative work" of something), andconcentration and integration of the media industry. It also documents how this industry has successfully used the legal system to limit competition to the major media corporations through legal action against: This book is an outgrowth of the U.S. Supreme Court decision in Eldred v. Free Culture covers the themes of Piracy and Property. "How free is this culture?"

Au front de la révolution du droit d’auteur ! Poser les fondements d'une réforme du droit d'auteur et du financement de la création : tel est l'objet d'un nouveau document préparé par Philippe Aigrain pour La Quadrature du Net. Notre chroniqueur Lionel Maurel, bibliothécaire engagé, a contribué avec enthousiasme à son élaboration et invite ses confrères à s'en emparer, alors que le gouvernement va entamer une consultation sur l’acte II de l’exception culturelle. Le rejet d’ACTA par le Parlement européen, tout comme la mise en échec en début d’année de la loi SOPA aux États-Unis, obtenus grâce à une mobilisation citoyenne sans précédent, constituent à l’évidence deux grandes victoires. Mais leur portée reste limitée, car il s’agissait essentiellement de batailles défensives, menées par les défenseurs des libertés numériques et de la culture libre pour barrer la route à des projets liberticides. Légalisation du partage non-marchand entre individus Contribution créatrice Usages collectifs Nouvelles taxes Une économie du partage

dance-tech platforms Students for Free Culture Leaked Report Reveals Music Industry’s Global Anti-Piracy Strategy A confidential internal report of the music industry outfit IFPI has been inadvertently made available online by the group itself. Penned by their Head of Internet Anti-piracy Operations, the report details the global strategy for the major recording labels of IFPI. Issues covered include everything from torrent sites to cyberlockers, what behavior IFPI expects of Internet service providers, the effectiveness of site blocking, and how pirates are accessing unreleased music from industry sources. Dated April 2012, the IFPI report obtained by TorrentFreak was put together by the music industry group’s chief anti-piracy officer Mo Ali. The 30-page report presents a global view of IFPI’s “problems”, “current and future threats” and the industry’s responses to them. IFPI says it has five possible reactions to a threat: Take down, Disruption, Investigation, Lobbying and Litigation. The Threats: P2P Initially IFPI splits illicit content availability into two sections. Central hosting/cyberlockers

Ectract principles of the CounterPoint Tool from Lessig Blog, v2 On Tuesday, Berkeley City Council adopted unanimously an ordinance inspired by Councilman Max Anderson, and which I and Robert Post helped craft. I was very happy to bat cleanup in an effort that has been underway for years. But there’s some serious misunderstanding about the ordinance and its purpose. No doubt many of the people fighting for the ordinance have a firm belief that non-ionizing radiation presents a significant and underappreciated health risk. Those people believe this for different reasons. These are all people who believe there is a risk that is not yet acknowledged. I am not a scientist. Indeed, as I said in the opening of my testimony, and as Councilmembers Anderson and Kriss Worthington said in their testimony, this ordinance is not about that scientific debate. Because in fact, there are existing safety recommendations for cellphone use. Those safety recommendations advise consumers not to carry their cell phone against their body. This is a very minimal requirement.

Google > (The Pirate Bay + Megaupload) Ahahaha mais qu'est-ce qu'on se marre... Je vais vous expliquer un truc pas nouveau, mais un truc très drôle quand même pour ceux qui ne seraient pas encore au courant. Quand un ayant droit découvre avec effroi un lien pointant vers une de ses oeuvres piratées via Google, il envoi ce qu'on appelle une notice DMCA à Google, c'est-à-dire une demande pour retirer le contenu pirate indexé, du moteur de recherche. Très bien. ... et participe aussi au projet Chillingeffects.org, lancé par l'EFF et d'autres pour protéger les gens et contenus honnêtes des demandes abusives de retrait (DMCA et justice). Sauf que dans ces "notices", on trouve bien sûr les liens pirates dont les ayants droit demandent le retrait. Évidemment, le plus ironique là-dedans, c'est qu'une simple requête Google sur Chilling Effects permet de trouver n'importe quel lien vers un fichier piraté. Mouarf ! Elle est pas belle la vie ? Photo et source Vous avez aimé cet article ?

Algorithm Flow chart of an algorithm (Euclid's algorithm) for calculating the greatest common divisor (g.c.d.) of two numbers a and b in locations named A and B. The algorithm proceeds by successive subtractions in two loops: IF the test B ≥ A yields "yes" (or true) (more accurately the numberb in location B is greater than or equal to the numbera in location A) THEN, the algorithm specifies B ← B − A (meaning the number b − a replaces the old b). Similarly, IF A > B, THEN A ← A − B. The process terminates when (the contents of) B is 0, yielding the g.c.d. in A. (Algorithm derived from Scott 2009:13; symbols and drawing style from Tausworthe 1977). In mathematics and computer science, an algorithm ( i/ˈælɡərɪðəm/ AL-gə-ri-dhəm) is a step-by-step procedure for calculations. Informal definition[edit] While there is no generally accepted formal definition of "algorithm," an informal definition could be "a set of rules that precisely defines a sequence of operations Formalization[edit]

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