Nineteenth century impressionism found its way through all of the arts with enormous and lasting success despite the objections of the conventional community. Will Adam Thierer’s belief in permissionless innovation--comprehensive technological freedom--follow the same path?

According to the author, the term “permissionless innovation” refers to the general freedom to experiment and learn through ongoing trial-and-error experimentation.

In any debate on permissionless innovation, Thierer deserves a place at the table. However, the other members of the banquet should be “elegantly educated,” or renaissance people who understand and appreciate the affects and effects of permissionless innovation.

In his book, the author presents many compelling arguments and theories for the adoption of permissionless innovation. For example, he claims that it fueled the success of the Internet; it allows unfettered creativity on the part of the innovator; and precautionary thinking (the author calls it the “precautionary principle”) poses a serious threat to technological progress. However, virtually all of his arguments can and will be countered by those worried about rampant technology experimentation.

There are six very interesting and compelling chapters in the book: “Why Permissionless Innovation Matters”; “Saving Progress from the Technocrats”; “What Prompts Precautionary Thinking and Policy Today”; Taking Adaptation Seriously”; “Preserving Permissionless Innovation: Principles of Progress”; and a concluding chapter, basically an editorial, “It’s About Freedom, Progress, and Prosperity.”

The danger, as I see it, is the temptation to believe that permissionless innovation is synonymous with license--that view would be criminal.

The book is short: 95 pages and a wealth of references. The author has certainly done his homework in that respect.

I think the book is well worth reading and presents many ideas deserving of serious discussion. Whether the author is right or wrong is up to the reader. Even Ravel admitted that Boléro was his most popular piece of non-music!

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