With the radical changes in information production that the Internet has introduced, we stand at an important moment of transition, says Yochai Benkler in this thought-provoking book. The phenomenon he describes as social production is reshaping markets, while at the same time offering new opportunities to enhance individual freedom, cultural diversity, political discourse, and justice. But these results are by no means inevitable: a systematic campaign to protect the entrenched industrial information economy of the last century threatens the promise of today’s emerging networked information environment. In this comprehensive social theory of the Internet and the networked information economy, Benkler describes how patterns of information, knowledge, and cultural production are changing--and shows that the way information and knowledge are made available can either limit or enlarge the ways people can create and express themselves. He describes the range of legal and policy choices that confront us and maintains that there is much to be gained--or lost--by the decisions we make today.

"The origin story of the Age of Disinformation: the candid inside tale of two online media rivals, Jonah Peretti of HuffPost and Buzzfeed and Nick Denton of Gawker Media, whose delirious pursuit of attention at scale in the first two decades of the 21st century helped release the dark forces that would overtake the internet and American society. If attention is the new oil, Ben Smith's Traffic is the story of the time between the first gusher and the impact of climate change. The curtain opens in Soho in the early 2000's, in that brief moment after the first dotcom crash and before Google, Apple, and Facebook exploded, when it seemed that New York City rather than Silicon Valley might become tech's center of gravity. There, within a few square blocks, Nick Denton's merry band of nihilists at his growing Gawker empire and Jonah Peretti's sunnier crew at HuffPost and Buzzfeed were building the foundations of click-bait media. It was tech's age of innocence: the old establishment might have been discredited by the Iraq War, but digital news would facilitate the spread of truth. Progressive activists were first to the scene, and for a while it seemed they were the scene. After all, didn't they get Barack Obama elected? Ben Smith, who would go on to earn a controversial reputation as Buzzfeed's editor-in-chief, was either there or talked to everyone who was, and in his trademark fashion, he chronicles it all with marvelous lucidity scored with dark wit, sparing no one--and certainly not himself. Denton and Gawker were seen at the time as the black hats, but in Smith's hands the story is much more nuanced: yes, Denton's ideology of radical transparency was problematic, but at least he had an ideology. Jonah Peretti survived long after Denton's Gawker perished because his focus on clicks was relentlessly content-agnostic. But as with the proverbial sorcerer's apprentice, unintended consequences began to gain momentum. At the heart of Traffic is one of the great ironies of our time: the internet, which was going to help the left remake the world in its image, has become the motive force of right populism. As Smith and his colleagues and rivals thought they were inventing digital media, other figures, flickering around the margins of their story, had different designs. People like Steve Bannon and Andrew Breitbart and Gavin McInnes and Chris Poole, the creator of 4chan, all seemed like minor characters in the narrative in which Nick and Jonah and crew were the stars. By 2020, any reasonable observer might wonder if the opposite wasn't the case. To understand how we got here, Traffic is essential and enthralling reading"--

"Over the last twenty years, art has become more accessible than ever before. A painter can post their latest creation on Instagram and wait as the likes pile up; a budding filmmaker can shoot a clip on their iPhone, then upload it to YouTube for thousands to view. The digital landscape has fundamentally altered what it means to be creative, as well as how consumers interact with artistic production both economically and curatorially. William Deresiewicz, a leading critic of contemporary culture in America, argues that we are in the midst of an epochal transformation within art. Whereas the nineteenth century considered artists to be craftsmen and the twentieth century treated them as professionals, artists today are uniquely dependent upon themselves. The internet, along with decreases in art funding and the growing prevalence of gig economies, has forced artists to become responsible for every aspect of their work, from conception to promotion, from sales to legacy. In The Death of the Artist, Deresiewicz profiles those struggling to make a living through the arts, from the twenty-something college novelist with a multi-hyphenated job title to the midlife painter who must utilize social media to stay relevant. Deresiewicz shows what the birth of the "creative entrepreneur" signifies about our evolving society at large and what might be done to keep artists thriving, because we need them"--

In this book, Amy Webb reveals the pervasive, invisible ways in which the foundations of AI - the people working on the system, their motivations, the technology itself - is broken. Within our lifetimes, AI will, by design, begin to behave unpredictably, thinking and acting in ways which defy human logic. The big nine corporations may be inadvertently building and enabling vast arrays of intelligent systems that don't share our motivations, desires, or hopes for the future of humanity.

Beginning with the development of the compass, Ruling the Waves examines a series of technological revolutions that promised, in their time, to transform the world's politics and business. With Debora Spar's gifted storytelling, each chapter reads like an adventure tale as she recounts the histories of the printing press and maps; of the telegraph, radio, and satellite television; of software, encryption, and the advent of digital music. At each of these junctures Spar suggests that invention led to both a wave of commerce and of chaos. Entrepreneurs such as Samuel Morse and Rupert Murdoch carved new markets from the emerging technology and proclaimed that the old rules no longer applied. And for a while, they were right. But eventually--and inevitably--even cowboys need rules: rules of property, rules of coordination, rules of competition. The erstwhile pioneers thus turn to government, lobbying for order and setting the stage for the next wave of discovery. A fascinating history of business, Ruling the Waves is also an original, thought-provoking analysis of the parallels between past innovations and inventions and our own tumultuous times.

Has globalization diluted the power of national governments to regulate their own economies? Are international governmental and nongovernmental organizations weakening the hold of nation-states on global regulatory agendas? Many observers think so. But in All Politics Is Global, Daniel Drezner argues that this view is wrong. Despite globalization, states especially the great powers still dominate international regulatory regimes, and the regulatory goals of states are driven by their domestic interests. As Drezner shows, state size still matters. The great powers the United States and the European Union remain the key players in writing global regulations, and their power is due to the size of their internal economic markets. If they agree, there will be effective global governance. If they don't agree, governance will be fragmented or ineffective. And, paradoxically, the most powerful sources of great-power preferences are the least globalized elements of their economies. Testing this revisionist model of global regulatory governance on an unusually wide variety of cases, including the Internet, finance, genetically modified organisms, and intellectual property rights, Drezner shows why there is such disparity in the strength of international regulations.

"Eli Noam provides a comprehensive and balanced survey of media concentration with a methodical, scientific approach. He assembles a wealth of data from the last 25 years about mass media such as radio, television, film, music, and print publishing, as well as the Internet, telecommunications, and media-related information technology." "Media Ownership and Concentration in America will be essential reading and a trove of information for scholars and students in media, telecommunications, IT, economics, and the history of business, as well as media industry professionals, business researchers, and policy makers around the world. Critics and defenders of media alike will find much that confirms and refutes their worldview."--BOOK JACKET.

Long with its interrelated companion volume, The Technology, Business, and Economics of Streaming Video, this book examines the next generation of TV--online video. It reviews the elements that lead to online platforms and video clouds and analyzes the software and hardware elements of content creation and interaction, and how these elements lead to different styles of video content. What are the models of this new content? What kind of cultural and societal acceleration can we expect? What are the public implications of the next-generation media system? What problems are arising? What kind of market power is emerging in media industries around the world? And how can one deal with them? The author addresses these questions with facts and figures, ranging across technology, economics, communications studies, business, policy, and law. He reviews the regulatory options, and recommends a new approach for video media. Media professionals in academia, management, technology, policy, and creative production will value the approachable yet thorough information presented in The Content, Impact, and Regulation of Streaming Video. --

"Along with its interrelated companion volume, The Content, Impact, and Regulation of Streaming Video, this book covers the next generation of TV-streaming online video, with details about its present and a broad perspective on the future. It reviews the new technical elements that are emerging, both in hardware and software, their long-term trend, and the implications, and discusses the emerging 'media cloud' of video and infrastructure platforms, and the organizational form of such TV. What kind of companies? What kind of business models? What kind of industries? What kind of impact on existing media? And what kind of market power in media industries, around the world? The author addresses these questions with facts and figures, ranging across technology, economics, communications studies, business, policy, and law. Media professionals in academia, management, technology, policy and creative production will appreciate the non-jargony yet thorough exploration of streaming online video in The Technology, Business, and Economics of Streaming Video."--

Argues that the internet revolution should exert a far more significant influence on economic thinking and on the perception of law.