Les golems du numérique. : Droit d’Auteur et Lex Electronica

Regulatory models from the analog era, based on physical medium scarcity and exclusivity, are called into question by digital technology paradigms of copying, remixing and sharing. Law and copyright in particular have developed and adapted in response to innovations in reproduction and dissemination technologies, creating access control as an artificial corrective. Technical standards and the extension of exclusive rights have been conceived independently, leading to tensions between cultural industries and rights of the public. But they can also lead to the constitution of commons.The book offers a techno-legal model of regulation for the sharing of culture. Following research on “lex informatica”, it is based on the mutual influence between law and code. It proposes a reconception of copyright categories to facilitate creative usages and non-market sharing, and an improved technical expression of those rights built on the systematic analysis of licenses and ontologies. As foreword author Lawrence Lessig summarizes: "The law could infect code, carrying its values".The golems, artificial creatures of the mythology, designate pieces of computer code that prevent to copy and reuse works online. Developed by right holders to protect their interests, they implement decisions automatically and indiscriminately , without control by the society, the state or the law, without distinguishing legitimate uses. But the golems can turn against their masters and create resistance. Beyond access to information and culture that is the subject of this book, the metaphor turns powerful to denounce the logic of encoding binary rules in the digital devices and algorithms that govern our lives and make decisions based on big data and traces we leave on networks, platforms, connected objects and smart cities.This book is grounded on over ten years of participation to copyright legal and technical regulation on the field. Co-founder and legal lead of Creative Commons France at CERSA CNRS University Paris 2 between 2003 and 2013, the author participated to MPEG technical standardisation at ISO, to two advisory commitees on copyright at French Ministry of Culture, and to diplomatic conferences at WIPO (United Nations) with the status of observer as president of Communia, the international association on the digital public domain.Le droit d'auteur, élaboré sur les fondements analogiques de la rareté du support, est remis en question par le numérique, qui s'appuie sur la copie, la réappropriation et le partage. Il a été adapté au rythme des innovations techniques de reproduction et de diffusion et peut conduire aussi bien au contrôle de l'accès qu'à la constitution de biens communs. Les processus d'élaboration des normes et standards techniques et d'extension des droits ont été pensés de manière indépendante, entraînant des tensions entre les industries culturelles et les droits du public. L'ouvrage propose un modèle techno-juridique de la régulation du partage de la culture. Fondé sur la lex informatica, il intègre code juridique et code informatique pour exprimer les informations sur les droits et élargir les catégories actuelles du droit d'auteur pour faciliter l'utilisation, la création et le partage non marchand. Ce livre est basé sur plus de dix ans de participation à la régulation juridique et technique du droit d'auteur. Co-fondatrice et responsable juridique de Creative Commons France au CERSA (CNRS Université Paris II) entre 2003 et 2013, l'auteure a pris part à la standardisation technique MPEG (ISO), à deux commissions du CSPLA (ministère de la Culture) et à des travaux de l'OMPI (Nations unies) avec le statut d'observateur en tant que présidente de Communia, l'association internationale pour le domaine public numérique