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Scifaikuest

In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then? The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."

arguments that Lessig has with the hard-core proponents of intellectual property are almost all arguments about where and when the line should be drawn between the right to copy and the right to protection from copying, not whether a line should be drawn.

when it comes to literature, we have somehow decided that copying is never acceptable.

A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings.

problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity.

But the truth is that Lavery has every right to create an affair for Agnetha, because Agnetha is not Dorothy Lewis. She is a fictional character, drawn from Lewis's life but endowed with a completely imaginary set of circumstances and actions.

dred and seventy-five rather ordinary words could bring the walls tumbling down.

2. How to read

how to look at some text and to understand, in a deep way, what is being asserted (this also applies to audio and video, but grounding yourself in text will transfer relatively easily, if incompletely, to other domains).

3. How to distinguish truth from fiction

Do not simply accept what you are told. Always ask, how can you know that this is true? What evidence would lead you to believe that it is false?

4. How to empathize

this will allow other people to become a surprising source of new knowledge and insight.

5. How to be creative

Sometimes people think that creative ideas spring out of nothing (like the proverbial 'blank page' staring back at the writer) but creativity is in fact the result of using and manipulating your knowledge in certain ways.

creativity involves a transfer of knowledge from one domain to another domain, and sometimes a manipulation of that knowledge.

pattern recognition can be learned

6. How to communicate clearly

7. How to Learn

Learning to learn is the same as learning anything else. It takes practice.

8. How to stay healthy

9. How to value yourself

You can have all the knowledge and skills in the world, but they are meaningless if you do not feel personally empowered to use them; it's like owning a Lamborghini and not having a driver's license.

10. How to live meaningfully

When you realize you have the power to choose what you are doing, you realize you have the power to choose the consequences. Which means that consequences -- even bad consequences -- are for the most part a matter of choice