Cory Doctorow
Cory Doctorow is a blogger, journalist and science fiction author who serves as co-editor of the blog Boing Boing. He is in favor of liberalizing copyright laws, and a proponent of the Creative Commons organization, and uses some of their licenses for his books. Some common themes of his work include digital rights management, file sharing, Disney, and post-scarcity economics.
Doctorow was raised in an activist household, working in the nuclear disarmament movement and as a Greenpeace campaigner as a child. He later served on the board of directors for the Grindstone Island Co-operative on Big Rideau Lake, Ontario, helping to run a conference center devoted to peace and social justice education and activist training. He received his high school diploma from a SEED School and dropped out of four universities without attaining a degree.
He moved to Los Angeles from London, England, where he worked as European Affairs Coordinator for the Electronic Frontier Foundation, helping to set up the Open Rights Group, before quitting to pursue writing full-time in 2006. Upon his departure, Doctorow was named a Fellow of the Electronic Frontier Foundation and now teaches at the University of Southern California, despite the fact that he holds no degrees in higher education. He is a frequent public speaker on copyright issues.
Doctorow's first novel, Down and Out in the Magic Kingdom was published in 2003, and was the first novel released under one of the Creative Commons licenses. The license allowed readers to circulate the electronic edition as long as they neither made money from it nor used it to create derived works. The electronic edition was released simultaneously with the print edition.
Down and Out in the Magic Kingdom was re-released under a different Creative Commons license that allowed derivative works such as fan fiction, but still prohibited commercial usage. A semi-sequel short story called "Truncat" was published on Salon.com. Doctorow's other two novels use Creative Commons licenses that prohibit derived works and commercial usage and have followed the model of making digital versions available, without charge, at the same time that the print versions are published.
Doctorow is the recipient of the John W. Campbell Award for Best New Writer in 2000, the Locus Award for Best First Novel for Down and Out in the Magic Kingdom, and the Sunburst award for Best Canadian Science Fiction Book for his short story collection, A Place So Foreign and Eight More. This collection also contained his short story "0wnz0red", which was nominated for the 2003 Nebula Award.
In 2006, Doctorow was named the 2006-2007 Canadian Fulbright Chair in Public Diplomacy at the USC Center on Public Diplomacy, jointly sponsored by the Royal Fulbright Commission, the Integrated Media Systems Center, and the USC Center on Public Diplomacy. The academic Chair included a one year writing and teaching residency at the University of Southern California in Los Angeles.
Doctorow's nonfiction works include his first book, The Complete Idiot's Guide to Publishing Science Fiction (co-written with Karl Schroeder), and his contributions to Boing Boing, the weblog he co-edits, as well as regular columns in Popular Science and Make magazines. He is a Contributing Writer to Wired magazine, and contributes occasionally to other magazines and newspapers such as The New York Times Sunday Magazine, the Globe and Mail, Asimov's Science Fiction Magazine, and the Boston Globe. In 2004, he wrote an essay on Wikipedia included in The Anthology at the End of the Universe comparing Internet attempts at Hitchhiker's Guide-type resources including discussing his own article on Wikipedia. In the same year, he delivered a talk to Microsoft's Research Group related to copyright, technology, and DRM.
He served as Canadian Regional Director of the Science Fiction and Fantasy Writers of America and co-founded the free software P2P software company Opencola with John Henson and Grad Conn. The company was sold to the Open Text Corporation in the summer of 2003. Together with Austrian art group monochrom, he initiated the Instant Blitz Copy Fight project. People from all over the world are asked to take flash pictures of copyright warnings in movie theaters.
Topics
From Myspace to Homeland Security: Privacy and the Totalitarian Urge
Students spend a lot of their time being admonished to protect their privacy on MySpace and Facebook -- lest nude pictures and drunken boasts prevent them from one day becoming bank managers and college presidents. But as award-winning science fiction author, and BoingBoing blogger Cory Doctorow will reveals in this talk, the reality of privacy, surveillance and social networks is very different. And much scarier.
Bits Will Never Get Harder to Copy: The Limits of Copyright Online
Organizations that create and deliver web content rely on copyright to protect their incomes, but sometimes need copyright to get out of the way so they can do their work. Engaging audiences and generating revenues often means juggling copyright and licensing. How do you deliver the content the audience wants without alienating performers, licensors and other stakeholders? How do you know if your content is ready for the internet? When delivering it ends up criminalizing the audience, banning innovation, undermining user rights or crippling computers, then it's not going to fly. Yet good and valuable web content is easier than ever for other websites to copy and use to derive revenue for themselves.
Can You Ever Win A War on Your Customers?
A business built on the idea that information will get harder to copy is dead in the water. The Internet is a machine for copying bits cheaply and efficiently, and in that, it is part of a grand tradition that started with the printing press, then radio, cable, VCRs and so on down the line. At each turn, the incumbents have cried piracy, and each time, "content" benefited from technology in the end.
Can the copyright wars be settled with a truce? Does the music industry have to sue every single fan before they all go back to the mall? Technologies that seek to restrict the copying and use of digital works are wrong and wrong-headed. Wrong because they don't work, because they suppress creativity, and because they treat honest users like criminals? Wrong-headed because they seek to make digital works act as much as possible like analog works?
Will It Work Online?
How do you know if a media plan is ready for the net? If it involves criminalizing the majority of your audience, banning science, undermining user-rights and crippling devices, that's a good sign that the plan's not going to fly. Bits are only going to get easier to copy from here on in, and public service institutions need plans that treat copying as a feature, not a bug. How do you deliver maximum value to viewers and without alienating performers, licensors and other stakeholders?
0wned: Hollywood's War on Security
Digital Rights Management: A Product No Disney Customer Wants to Buy
From International Standards to Web Practices, IP Mania Has Undermined the Idea of Real Property, of Freedom, of Creativity.
The Totalitarian Urge: Total Information Awareness and the Cosmic Billiards
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