“The current term of protection for software is the life of an author plus 70 years, or, if it's work-for-hire, a total of 95 years. This is a bastardization of the Constitution's requirement that copyright be for "limited times." By the time Apple's Macintosh operating system finally falls into the public domain, there will be no machine that could possibly run it. The term of copyright for software is effectively unlimited.”

— Lawrence Lessig

May the Source Be With You (2001)

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Lawrence Lessig 71

American academic, political activist. 1961

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“I would dramatically reduce the safeguards for software — from the ordinary term of 95 years to an initial term of 5 years, renewable once. And I would extend that government-backed protection only if the author submitted a duplicate of the source code to be held in escrow while the work was protected. Once the copyright expired, that escrowed version would be publicly available from the copyright office.
Most programmers should like this change. No code lives for 10 years, and getting access to the source code of even orphaned software projects would benefit all. More important, it would unlock the knowledge built into this protected code for others to build upon as they see fit. Software would thus be like every other creative work — open for others to see and to learn from.”

Lawrence Lessig (1961) American academic, political activist.

May the Source Be With You (2001)

“Now the Disney Corporation could do this because that culture lived in a commons, an intellectual commons, a cultural commons, where people could freely take and build. It was a lawyer-free zone.
It was culture, which you didn't need the permission of someone else to take and build upon. That was the character of creativity at the birth of the last century. It was built upon a constitutional requirement that protection be for limited times, and it was originally limited. Fourteen years, if the author lived, then 28, then in 1831 it went to 42, then in 1909 it went to 56, and then magically, starting in 1962, look — no hands, the term expands.
Eleven times in the last 40 years it has been extended for existing works — not just for new works that are going to be created, but existing works. The most recent is the Sonny Bono copyright term extension act.”

Lawrence Lessig (1961) American academic, political activist.

OSCON 2002

“By insisting on the Constitution's limits to copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious sense, he was fighting a kind of piracy — piracy of the public domain.”

Lawrence Lessig book Free Culture

Free Culture (2004)
Context: By insisting on the Constitution's limits to copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious sense, he was fighting a kind of piracy — piracy of the public domain. When Robert Frost wrote his work and when Walt Disney created Mickey Mouse, the maximum copyright term was just fifty-six years. Because of interim changes, Frost and Disney had already enjoyed a seventy-five-year monopoly for their work. They had gotten the benefit of the bargain that the Constitution envisions: In exchange for a monopoly protected for fifty-six years, they created new work. But now these entities were using their power — expressed through the power of lobbyists' money — to get another twenty-year dollop of monopoly. That twenty-year dollop would be taken from the public domain. Eric Eldred was fighting a piracy that affects us all.

“The idea of copyright did not exist in ancient times, when authors frequently copied other authors at length in works of non-fiction. This practice was useful, and is the only way many authors' works have survived even in part. The copyright system was created expressly for the purpose of encouraging authorship. In the domain for which it was invented — books, which could be copied economically only on a printing press — it did little harm, and did not obstruct most of the individuals who read the books.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

1980s, GNU Manifesto (1985)

“Perl is another example of filling a tiny, short-term need, and then being a real problem in the longer term. Basically, a lot of the problems that computing has had in the last 25 years comes from systems where the designers were trying to fix some short-term thing and didn’t think about whether the idea would scale if it were adopted. There should be a half-life on software so old software just melts away over 10 or 15 years.”

Alan Kay (1940) computer scientist

ACM Queue A Conversation with Alan Kay Vol. 2, No. 9 - Dec/Jan 2004-2005 http://queue.acm.org/detail.cfm?id=1039523
2000s, A Conversation with Alan Kay, 2004–05

“Software production is unlike any other production that preceded it. No raw materials are required, no time is required, and no effort is required. You can make a million copies of a piece of software instantaneously for free. It's a totally new paradigm of production.”

John McAfee (1945) American computer programmer and businessman

"Nerds 2.0.1 - A Brief History of the Internet", Part 3

“I figure that since proprietary software developers use copyright to stop us from sharing, we cooperators can use copyright to give other cooperators an advantage of their own: they can use our code.”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

1990s, Copyleft: Pragmatic Idealism (1998)

“The term "free software" has an ambiguity problem: an unintended meaning, "Software you can get for zero price," fits the term just as well as the intended meaning, "software which gives the user certain freedoms."”

Richard Stallman (1953) American software freedom activist, short story writer and computer programmer, founder of the GNU project

We address this problem by publishing a more precise definition of free software, but this is not a perfect solution; it cannot completely eliminate the problem. An unambiguously correct term would be better, if it didn't have other problems.
1990s, Why "Free Software" is better than "Open Source" (1998)

“The growing complexity of software is the motivation behind work on industrializing software development. In particular, current research in the area of model driven engineering (MDE) is primarily concerned with reducing the gap between problem and software implementation domains through the use of technologies that support systematic transformation of problem-level abstractions to software implementations. The complexity of bridging the gap is tackled through the use of models that describe complex systems at multiple levels of abstraction and from a variety of perspectives, and through automated support for transforming and analyzing models. In the MDE vision of software development, models are the primary artifacts of development and developers rely on computer-based technologies to transform models to running systems.”

Bernhard Rumpe (1967) German computer scientist

Source: Model-driven development of complex software: A research roadmap (2007), p. 37

“The software architecture of a system or a family of systems has one of the most significant impacts on the quality of an organization's enterprise architecture. While the design of software systems concentrates on satisfying the functional requirements for a system, the design of the software architecture for systems concentrates on the nonfunctional or quality requirements for systems. These quality requirements are concerns at the enterprise level. The better an organization specifies and characterizes the software architecture for its systems, the better it can characterize and manage its enterprise architecture. By explicitly defining the systems software architectures, an organization will be better able to reflect the priorities and trade-offs that are important to the organization in the software that it builds.”

Scott W. Ambler (1966) Canadian software engineer/consultant/author

James McGovern, Scott W. Ambler and M. E Stevens (2004) A Practical Guide to Enterprise Architecture. p. 35

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