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'A must read for anyone interested in the emerging ethics of
robotics' Irene M. Pepperberg A bold, optimistic exploration of the
relationship between robots and humans based on our history with
animals, from a renowned MIT researcher The robots are here. They
make our cars, they deliver fast food, they mine the sea floor. And
in the near-future their presence will increasingly enter our homes
and workplaces - making human-robot interaction a frequent,
everyday occurrence. What will this future look like? What will
define the relationship between humans and robots? Here Kate
Darling, a world-renowned expert in robot ethics, shows that in
order to understand the new robot world, we must first move beyond
the idea that this technology will be something like us. Instead,
she argues, we should look to our relationship with animals. Just
as we have harnessed the power of animals to aid us in war and
work, so too will robots supplement - rather than replace - our own
skills and abilities. A deeply original analysis of our
technological future and the ethical dilemmas that await us, The
New Breed explains how the treatment of machines can reveal a new
understanding of our own history, our own systems and how we relate
- not just to non-humans, but also to each other.
Behind the scenes of the many artists and innovators flourishing
beyond the bounds of intellectual property laws Intellectual
property law, or IP law, is based on certain assumptions about
creative behavior. The case for regulation assumes that creators
have a fundamental legal right to prevent copying, and without this
right they will under-invest in new work. But this premise fails to
fully capture the reality of creative production. It ignores the
range of powerful non-economic motivations that compel creativity,
and it overlooks the capacity of creative industries for
self-governance and innovative social and market responses to
appropriation. This book reveals the on-the-ground practices of a
range of creators and innovators. In doing so, it challenges
intellectual property orthodoxy by showing that incentives for
creative production often exist in the absence of, or in disregard
for, formal legal protections. Instead, these communities rely on
evolving social norms and market responses-sensitive to their
particular cultural, competitive, and technological
circumstances-to ensure creative incentives. From tattoo artists to
medical researchers, Nigerian filmmakers to roller derby players,
the communities illustrated in this book demonstrate that
creativity can thrive without legal incentives, and perhaps more
strikingly, that some creative communities prefer, and thrive, in
environments defined by self-regulation rather than legal rules.
Beyond their value as descriptions of specific industries and
communities, the accounts collected here help to ground debates
over IP policy in the empirical realities of the creative process.
Their parallels and divergences also highlight the value of rules
that are sensitive to the unique mix of conditions and motivations
of particular industries and communities, rather than the
monoculture of uniform regulation of the current IP system.
Behind the scenes of the many artists and innovators flourishing
beyond the bounds of intellectual property laws Intellectual
property law, or IP law, is based on certain assumptions about
creative behavior. The case for regulation assumes that creators
have a fundamental legal right to prevent copying, and without this
right they will under-invest in new work. But this premise fails to
fully capture the reality of creative production. It ignores the
range of powerful non-economic motivations that compel creativity,
and it overlooks the capacity of creative industries for
self-governance and innovative social and market responses to
appropriation. This book reveals the on-the-ground practices of a
range of creators and innovators. In doing so, it challenges
intellectual property orthodoxy by showing that incentives for
creative production often exist in the absence of, or in disregard
for, formal legal protections. Instead, these communities rely on
evolving social norms and market responses-sensitive to their
particular cultural, competitive, and technological
circumstances-to ensure creative incentives. From tattoo artists to
medical researchers, Nigerian filmmakers to roller derby players,
the communities illustrated in this book demonstrate that
creativity can thrive without legal incentives, and perhaps more
strikingly, that some creative communities prefer, and thrive, in
environments defined by self-regulation rather than legal rules.
Beyond their value as descriptions of specific industries and
communities, the accounts collected here help to ground debates
over IP policy in the empirical realities of the creative process.
Their parallels and divergences also highlight the value of rules
that are sensitive to the unique mix of conditions and motivations
of particular industries and communities, rather than the
monoculture of uniform regulation of the current IP system.
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