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Code : Collaborative Ownership and Digital... (05 Edition)

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Synopses & Reviews

Please note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.

Publisher Comments:

andlt;Pandgt;Open source software is considered by many to be a novelty and the open source movement a revolution. Yet the collaborative creation of knowledge has gone on for as long as humans have been able to communicate. CODE looks at the collaborative model of creativity — with examples ranging from collective ownership in indigenous societies to free software, academic science, and the human genome project — and finds it an alternative to proprietary frameworks for creativity based on strong intellectual property rights.Intellectual property rights, argues Rishab Ghosh in his introduction, were ostensibly developed to increase creativity; but today, policy decisions that treat knowledge and art as if they were physical forms of property actually threaten to decrease creativity, limit public access to creativity, and discourage collaborative creativity. "Newton should have had to pay a license fee before being allowed even to see how tall the 'shoulders of giants' were, let alone to stand upon them," he writes.The contributors to CODE, from such diverse fields as economics, anthropology, law, and software development, examine collaborative creativity from a variety of perspectives, looking at new and old forms of creative collaboration and the mechanisms emerging to study them. Discussing the philosophically resonant issues of ownership, property, and the commons, they ask if the increasing application of the language of property rights to knowledge and creativity constitutes a second enclosure movement — or if the worldwide acclaim for free software signifies a renaissance of the commons. Two concluding chapters offer concrete possibilities for both alternatives, with one proposing the establishment of "positive intellectual rights" to information and another issuing a warning against the threats to networked knowledge posed by globalization.andlt;/Pandgt;

Synopsis:

How "open source" creative collaboration provides an alternative to commercially-driven policies determining intellectual property rights.

Synopsis:

Open source software is considered by many to be a novelty and the open source movement a revolution. Yet the collaborative creation of knowledge has gone on for as long as humans have been able to communicate. CODE looks at the collaborative model of creativity--with examples ranging from collective ownership in indigenous societies to free software, academic science, and the human genome project--and finds it an alternative to proprietary frameworks for creativity based on strong intellectual property rights.

Synopsis:

Open source software is considered by many to be a novelty and the open source movement a revolution. Yet the collaborative creation of knowledge has gone on for as long as humans have been able to communicate. CODE looks at the collaborative model of creativity — with examples ranging from collective ownership in indigenous societies to free software, academic science, and the human genome project — and finds it an alternative to proprietary frameworks for creativity based on strong intellectual property rights.Intellectual property rights, argues Rishab Ghosh in his introduction, were ostensibly developed to increase creativity; but today, policy decisions that treat knowledge and art as if they were physical forms of property actually threaten to decrease creativity, limit public access to creativity, and discourage collaborative creativity. "Newton should have had to pay a license fee before being allowed even to see how tall the 'shoulders of giants' were, let alone to stand upon them," he writes.The contributors to CODE, from such diverse fields as economics, anthropology, law, and software development, examine collaborative creativity from a variety of perspectives, looking at new and old forms of creative collaboration and the mechanisms emerging to study them. Discussing the philosophically resonant issues of ownership, property, and the commons, they ask if the increasing application of the language of property rights to knowledge and creativity constitutes a second enclosure movement — or if the worldwide acclaim for free software signifies a renaissance of the commons. Two concluding chapters offer concrete possibilities for both alternatives, with one proposing the establishment of "positive intellectual rights" to information and another issuing a warning against the threats to networked knowledge posed by globalization.

About the Author

Rishab Aiyer Ghosh is Program Leader at the International Institute of Infonomics at Maastricht University. He was one of the founders and is the current managing editor of First Monday, the peer-reviewed Internet journal.

Product Details

ISBN:
9780262572361
Author:
Ghosh, Rishab Aiyer (ed.)
Publisher:
MIT Press (MA)
Editor:
Ghosh, Rishab Aiyer
Author:
Ghosh, Rishab Aiyer
Author:
Ghosh, Rishab
Location:
Cambridge
Subject:
Information Management
Subject:
Management Information Systems
Subject:
Electronic Commerce
Subject:
Creative Ability
Subject:
Strategic alliances (Business)
Subject:
Social Aspects - General
Subject:
Intellectual Property - General
Subject:
Group decision-making
Subject:
Computers Reference-Social Aspects
Edition Description:
Trade paper
Series:
Leonardo Book Series CODE
Publication Date:
20060931
Binding:
TRADE PAPER
Grade Level:
from 17
Language:
English
Illustrations:
2 illus.
Pages:
384
Dimensions:
9 x 7 in

Related Subjects

Arts and Entertainment » Architecture » Drafting
Arts and Entertainment » Architecture » Drawing and Design
Computers and Internet » Computers Reference » Social Aspects » General
Health and Self-Help » Psychology » General
History and Social Science » Law » Intellectual Property » General

Code : Collaborative Ownership and Digital... (05 Edition) Used Trade Paper
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Product details 384 pages MIT Press - English 9780262572361 Reviews:
"Synopsis" by , How "open source" creative collaboration provides an alternative to commercially-driven policies determining intellectual property rights.
"Synopsis" by , Open source software is considered by many to be a novelty and the open source movement a revolution. Yet the collaborative creation of knowledge has gone on for as long as humans have been able to communicate. CODE looks at the collaborative model of creativity--with examples ranging from collective ownership in indigenous societies to free software, academic science, and the human genome project--and finds it an alternative to proprietary frameworks for creativity based on strong intellectual property rights.
"Synopsis" by , Open source software is considered by many to be a novelty and the open source movement a revolution. Yet the collaborative creation of knowledge has gone on for as long as humans have been able to communicate. CODE looks at the collaborative model of creativity — with examples ranging from collective ownership in indigenous societies to free software, academic science, and the human genome project — and finds it an alternative to proprietary frameworks for creativity based on strong intellectual property rights.Intellectual property rights, argues Rishab Ghosh in his introduction, were ostensibly developed to increase creativity; but today, policy decisions that treat knowledge and art as if they were physical forms of property actually threaten to decrease creativity, limit public access to creativity, and discourage collaborative creativity. "Newton should have had to pay a license fee before being allowed even to see how tall the 'shoulders of giants' were, let alone to stand upon them," he writes.The contributors to CODE, from such diverse fields as economics, anthropology, law, and software development, examine collaborative creativity from a variety of perspectives, looking at new and old forms of creative collaboration and the mechanisms emerging to study them. Discussing the philosophically resonant issues of ownership, property, and the commons, they ask if the increasing application of the language of property rights to knowledge and creativity constitutes a second enclosure movement — or if the worldwide acclaim for free software signifies a renaissance of the commons. Two concluding chapters offer concrete possibilities for both alternatives, with one proposing the establishment of "positive intellectual rights" to information and another issuing a warning against the threats to networked knowledge posed by globalization.
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