The book was made available for free download and remixing[1] under the CC BY-NC[2] Creative Commons license via Bloomsbury Academic.

Lessig insists that knowledge and manipulation of multi-media technologies is the current generation's form of "literacy"- what reading and writing was to the previous.

The children growing up in a world where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal.

Thus most corrosive outcome of this tension is that generations of children are growing up doing what they know is "illegal" and that notion has societal implications that extend far beyond copyright wars.

Analog technologies inherently supported RO culture's business model of production and distribution and limited the role of the consumer to just that, 'consuming'.

Lessig uses this key example to show that it is possible to achieve a business model which balances access and control and is equally attractive to both the consumers and the creators.

Lessig insists, using Amazon as his premiere example, that the future of entertainment and advertising lies in accumulating information about a consumer and tailoring the product to their preferences.

Lessig posits that digital technologies provide the tools for reviving RW culture and democratizing production.

The third layer added bots that analyzed the relationship between various websites by counting the clicks between them and, thus, organizing a database of preferences.

Lessig uses the blog model to demonstrate a wider conclusion - while there is no doubt many amateur online publications cannot compete with the validity of professional sources, the democratization of digital RW culture and the 'ecosystem of reputation' provides a space for many talented voices to be heard that was not available in the pre-digital RO model.

Remix, according to Lessig, is not solely digital, but also relates to the act of reading and applying texts to their personal life.

Culturally, critically taking in what is going on (the original content) and developing an opinion that can be shared and given transformed meaning, is also considered remixing.

Creativity in this sense, relates to the combining of elements or materials with an individual's original ideas to create a unique product.

[14] Lessig has had his own fight with the platform when his Lecture got taken down in 2013 on grounds of violating Copyright laws due to a song from the band Phoenix being used in part of the presentation.

In addition to the Digital Millennium Copyright Act of 1998, YouTube also allows the claimant to place advertisements on the video.

Without the claim in question, to be the main feature in the video, it can merely be a song playing in the background that can take a user's work off the web.

It is not solely creating new and unique ideas with novelty resources, but instead pulling from multiple sources to give way to new products.

[17] Lessig describes the remix phenomenon instrumental in creating cultural literacy and a critical view of media and advertising that permeates our daily lives.

But, as it stands today, copyright law will inhibit education employing these digital forms of literacy for institutions will shy away from use that might be deemed 'illegal'.

The commercial economy is governed by the simple logic of the market, where products and services have a tangible economic value, be it money or labor.

The Internet has been extremely successful as a portal for commercial economies to flourish - improving existing businesses and serving as a platform for thousands of new ones.

It has been exceptionally fruitful of businesses that cater to a niche market - exemplified by such companies as Amazon and Netflix which provide a range of items that could not be accommodated by one physical space.

At the same time the sites make revenue through advertisements but are extremely careful to not overwhelm the users and disrupt the sense of community.

Lessig's notable examples are volunteers of Usenet that help those technologically in need solve computer problems – from minor to complex.

In this category Lessig also cites the now infamous Heather Lawver 2000 case after the teenager started a fan site for J.K. Rowling's Harry Potter series, only to be constantly 'threatened' by Warner for illegal use of copyrighted content.

In his final chapter "Reforming Us", Lessig insists that in order to move towards ending the senseless copyright wars, which are mostly harming our children, we must understand that governmental control has its limits.

The children growing up in a digital age are seeing these laws as senseless and corrupt and, more importantly, trivial as they continue to remix and download despite it.

When put in this light, copyright reform carries much larger implications for the morality of the digital age generations.

Aside from morality of the generation, Lessig asserts that due to legislation being either too passive or too stern it creates the lack of understanding from policy makers.