I’m delighted to announce that my novel Pirate Cinema is a finalist for this year’s Prometheus Award, given by the Libertarian Futurist Society. Winning the Prometheus for Little Brother, and being nominated again for Makers was a major honor, and I’ve got my fingers crossed for this year.
Geoffrey Cole of Prism Magazine has posted the first part of a three-part interview we conducted in Vancouver, back when I was touring with Pirate Cinema. In this part, we talk about many subjects, notably Rapture of the Nerds:
The “Rapture” in Rapture of the Nerds has many meanings. Foremost, it is the ascension of most of biological humanity to a purely digital existence. Do you really think that such a huge percentage of humanity would leave their bodies behind if they could?
Yeah, totally. The question of whether such an option will likely be available to us is something I’m not at all certain about, but in the presence of such an option, I’m very confident that large numbers of people would opt for it. We like get-evolved-quick schemes. If you can sell Thighmasters, you can sell mind uploading.
Geoffrey Cole of Prism Magazine has posted the first part of a three-part interview we conducted in Vancouver, back when I was touring with Pirate Cinema. In this part, we talk about many subjects, notably Rapture of the Nerds:
The “Rapture” in Rapture of the Nerds has many meanings. Foremost, it is the ascension of most of biological humanity to a purely digital existence. Do you really think that such a huge percentage of humanity would leave their bodies behind if they could?
Yeah, totally. The question of whether such an option will likely be available to us is something I’m not at all certain about, but in the presence of such an option, I’m very confident that large numbers of people would opt for it. We like get-evolved-quick schemes. If you can sell Thighmasters, you can sell mind uploading.
Geoffrey Cole of Prism Magazine has posted the first part of a three-part interview we conducted in Vancouver, back when I was touring with Pirate Cinema. In this part, we talk about many subjects, notably Rapture of the Nerds:
The “Rapture” in Rapture of the Nerds has many meanings. Foremost, it is the ascension of most of biological humanity to a purely digital existence. Do you really think that such a huge percentage of humanity would leave their bodies behind if they could?
Yeah, totally. The question of whether such an option will likely be available to us is something I’m not at all certain about, but in the presence of such an option, I’m very confident that large numbers of people would opt for it. We like get-evolved-quick schemes. If you can sell Thighmasters, you can sell mind uploading.
I sat down with the fascinating crew at the Titanium Physicists podcast to serve as their special physics-ignoramus guest in an episode about entropy (MP3)
The next issue of Theatre Bay Area will feature the full text of Josh Costello’s theatrical adaptation of my novel Little Brother, which was incredibly well-received on stage in San Francisco last year.
The next issue of Theatre Bay Area will feature the full text of Josh Costello’s theatrical adaptation of my novel Little Brother, which was incredibly well-received on stage in San Francisco last year.
Today, on a very special Cory Doctorow podcast, the podcasting debut of Ms Poesy Emmeline Fibonacci Nautilus Taylor Doctorow!
My latest Guardian column, “Why the entertainment industry’s release strategy creates piracy,” looks at the weird entertainment industry practice of defending their right not to sell us the things we want to buy, and the rather more odious practice of asking the public to foot the bill for this strategy:
In a real marketplace, the ability of entertainment companies to stagger their releases would be curtailed by the willingness of customers to put profits ahead of their own desire to watch TV or movies when the rest of the world is talking about them on Twitter and Facebook – and not six months later, timed to coincide with a bank holiday. However, by equating watching TV at “the wrong time” with theft, the entertainment companies have been pretty successful in convincing politicians that the public should foot the bill for this decision through costly market interventions, up to and including a branch of the City of London police charged with finding copyright infringers.
Which brings us back to the empirical evidence on lawful alternatives and piracy rates. The fact that people eschew the black market when there is a legitimate alternative tells you that they’re not thieves looking to steal. Rather, like the notional customer who sneaks in her own fizzy drinks rather than paying for the cinema’s insane markups, they are potential customers whose purchases have been forfeited by a business that has violated rule number one: offer a product that people want to buy at the price they’re willing to pay.
Why the entertainment industry’s release strategy creates piracy
