culture of values that have been integral to our tradition from the start.
</para>
<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
-<indexterm><primary>Copyright law</primary><secondary>as protection of creators</secondary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>as protection of creators</secondary></indexterm>
<indexterm><primary>First Amendment</primary></indexterm>
<indexterm><primary>Netanel, Neil Weinstock</primary></indexterm>
<para>
<title><quote>PIRACY</quote></title>
<partintro>
<!-- PAGE BREAK 30 -->
-<indexterm><primary>Copyright law</primary><secondary>English</secondary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>English</secondary></indexterm>
<indexterm id='idxmansfieldwilliammurraylord' class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
<indexterm><primary>music publishing</primary></indexterm>
<indexterm><primary>sheet music</primary></indexterm>
</para>
<indexterm><primary>Brandeis, Louis D.</primary></indexterm>
<indexterm><primary>Steamboat Bill, Jr.</primary></indexterm>
+<indexterm id='idxcameratechnology2' class='startofrange'><primary>camera technology</primary></indexterm>
<para>
On the other side was an argument that should be familiar, as well.
Sure, there may be something of value being used. But citizens should
(1993).
</para></footnote>)
</para>
+<indexterm><primary>Kodak cameras</primary></indexterm>
<indexterm><primary>Napster</primary></indexterm>
<para>
We can only speculate about how photography would have developed had
demonstrated before a company developed pictures. We could imagine a
system developing to demonstrate that permission.
</para>
+<indexterm startref='idxcameratechnology2' class='endofrange'/>
+<indexterm id='idxcameratechnology3' class='startofrange'><primary>camera technology</primary></indexterm>
<indexterm><primary>democracy</primary><secondary>in technologies of expression</secondary></indexterm>
<indexterm><primary>expression, technologies of</primary><secondary>democratic</secondary></indexterm>
<para>
about.
</para>
<indexterm><primary>advertising</primary></indexterm>
+<indexterm><primary>commercials</primary></indexterm>
+<indexterm><primary>television</primary><secondary>advertising on</secondary></indexterm>
<para>
Maybe. But in a world where children see on average 390 hours of
television commercials per year, or between 20,000 and 45,000
of how media works, how it holds an audience or leads it through a
story, how it triggers emotion or builds suspense.
</para>
+<indexterm startref='idxcameratechnology3' class='endofrange'/>
<para>
It took filmmaking a generation before it could do these things well.
But even then, the knowledge was in the filming, not in writing about
by making them and then reflecting upon what one has created.
</para>
<indexterm><primary>Crichton, Michael</primary></indexterm>
+<indexterm id='idxdaleyelizabeth' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>
<para>
This grammar has changed as media has changed. When it was just film,
as Elizabeth Daley, executive director of the University of Southern
Ibid.
</para></footnote>
</para>
-<indexterm><primary>Barish, Stephanie</primary></indexterm>
+<indexterm
id='idxbarishstephanie' class='startofrange'><primary>Barish, Stephanie</primary></indexterm>
<para>
As with any language, this language comes more easily to some than to
others. It doesn't necessarily come more easily to those who excel in
opportunity to use film to express meaning about something the
students know something about—gun violence.
</para>
+<indexterm startref='idxdaleyelizabeth' class='endofrange'/>
<para>
The class was held on Friday afternoons, and it created a relatively
new problem for the school. While the challenge in most classes was
<emphasis>these</emphasis> ideas can be expressed well. The power of
this message depended upon its connection to this form of expression.
</para>
+<indexterm startref='idxbarishstephanie' class='endofrange'/>
<para>
<!-- PAGE BREAK 52 -->
<!-- FIXME removed a " from the end of the previous paragraph that did
not match with any start quote. -->
</blockquote>
+<indexterm id='idxseptemberterroristattacksof' class='startofrange'><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
<indexterm><primary>World Trade Center</primary></indexterm>
+<indexterm id='idxnewscoverage' class='startofrange'><primary>news coverage</primary></indexterm>
<para>
<emphasis role='strong'>When two planes</emphasis> crashed into the
World Trade Center, another into the Pentagon, and a fourth into a
captured the attention of the world. There was ABC and CBS, but there
was also the Internet.
</para>
+<indexterm startref='idxseptemberterroristattacksof' class='endofrange'/>
<para>
I don't mean simply to praise the Internet—though I do think the
people who supported this form of speech should be praised. I mean
happens. When there are ten million, there will be something
extraordinary to report.
</para>
+<indexterm startref='idxnewscoverage' class='endofrange'/>
<indexterm startref='idxpoliticaldiscourse' class='endofrange'/>
<indexterm startref='idxblogsweblogs2' class='endofrange'/>
<indexterm startref='idxinternetblogson2' class='endofrange'/>
</section>
<section id="recordedmusic">
<title>Recorded Music</title>
+<indexterm id='idxcopyrightlawonmusicrecordings' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
<para>
The record industry was born of another kind of piracy, though to see
how requires a bit of detail about the way the law regulates music.
of recordings so long as they paid the composer (or copyright holder)
the fee set by the statute.
</para>
+<indexterm><primary>Grisham, John</primary></indexterm>
<para>
This is an exception within the law of copyright. When John Grisham
writes a novel, a publisher is free to publish that novel only if
Grisham is thus set by Grisham, and copyright law ordinarily says you
have no permission to use Grisham's work except with permission of
Grisham.
-<indexterm><primary>Grisham, John</primary></indexterm>
</para>
+<indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
<para>
But the law governing recordings gives recording artists less. And
thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
this has meant more rights for creators. Sometimes less.
</para>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>composers, copyright protections of</primary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry2' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawonmusicrecordings2' class='startofrange'><primary>copyright law</primary><secondary>on music recordings</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin2' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>copyright protections in</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm><primary>statutory licenses</primary></indexterm>
+<indexterm><primary>composer's rights vs. producers' rights in</primary></indexterm>
<para>
So, as we've seen, when <quote>mechanical reproduction</quote> threatened the
interests of composers, Congress balanced the rights of composers
companies the right to the content, so long as they paid the statutory
price.
</para>
+<indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
<para>
<!-- PAGE BREAK 88 -->
<emphasis>compensation</emphasis> without giving the past
(broadcasters) control over the future (cable).
</para>
+<indexterm startref='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
<indexterm startref='idxcabletv2' class='endofrange'/>
<indexterm><primary>Betamax</primary></indexterm>
<indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
infringement of its customers. It should therefore, Disney and
Universal claimed, be partially liable for that infringement.
</para>
+<indexterm startref='idxcongressusoncopyrightlaws2' class='endofrange'/>
<para>
There was something to Disney's and Universal's claim. Sony did
decide to design its machine to make it very simple to record television
<indexterm><primary>Vanderbilt University</primary></indexterm>
<indexterm><primary>Way Back Machine</primary></indexterm>
<indexterm><primary>libraries</primary><secondary>archival function of</secondary></indexterm>
+<indexterm id='idxnewscoverage2' class='startofrange'><primary>news coverage</primary></indexterm>
<para>
The Way Back Machine is the largest archive of human knowledge in
human history. At the end of 2002, it held <quote>two hundred and thirty
</para>
<indexterm><primary>Movie Archive</primary></indexterm>
<indexterm><primary>archive.org</primary><seealso>Internet Archive</seealso></indexterm>
+<indexterm startref='idxnewscoverage2' class='endofrange'/>
<indexterm><primary>films</primary><secondary>archive of</secondary></indexterm>
<indexterm><primary>Internet Archive</primary></indexterm>
<indexterm><primary>Duck and Cover film</primary></indexterm>
by the legislators who enacted copyright law.
</para>
<para>
-We can see this point abstractly by beginning with this largely
+We can see this point abstractly by beginning with this largely
empty circle.
</para>
<figure id="fig-1521">
<title>All potential uses of a book.</title>
<graphic fileref="images/1521.png"></graphic>
</figure>
-<indexterm id='idxbooksusetypes' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxbooksthreetypesofusesof' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
+<indexterm id='idxcopyrightlawcopiesascoreissueof2' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='startofrange'><primary>Internet</primary><secondary>copyright applicability altered by technology of</secondary></indexterm>
+<indexterm id='idxtechnologycopyrightintentalteredby' class='startofrange'><primary>technology</primary><secondary>copyright intent altered by</secondary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs4' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs4' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
<para>
<!-- PAGE BREAK 152 -->
Think about a book in real space, and imagine this circle to represent
paradigmatic use properly regulated by copyright regulation (see first
diagram on next page).
</para>
+<indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
+<indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
<para>
Finally, there is a tiny sliver of otherwise regulated copying uses
that remain unregulated because the law considers these <quote>fair uses.</quote>
sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that
are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
</para>
-<indexterm startref='idxbooksusetypes' class='endofrange'/>
+<indexterm startref='idxbooksthreetypesofusesof' class='endofrange'/>
<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
<para>
Enter the Internet—a distributed, digital network where every use
none of those uses produced a copy.
</para>
<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxderivativeworkstechnologicaldevelopmentsand' class='startofrange'><primary>derivative works</primary><secondary>technological developments and</secondary></indexterm>
<para>
But the same book as an e-book is effectively governed by a different
set of rules. Now if the copyright owner says you may read the book
allowed our policy here to shift. Unregulated uses were an important
part of free culture before the Internet.
</para>
+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
<para>
Second, this shift is especially troubling in the context of
transformative uses of creative content. Again, we can all understand
read was effectively protected before because reading was not
regulated.
</para>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof2' class='endofrange'/>
+<indexterm startref='idxinternetcopyrightapplicabilityalteredbytechnologyof' class='endofrange'/>
+<indexterm startref='idxtechnologycopyrightintentalteredby' class='endofrange'/>
+<indexterm startref='idxderivativeworkstechnologicaldevelopmentsand' class='endofrange'/>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork3' class='endofrange'/>
<para>
This point about fair use is totally ignored, even by advocates for
free culture. We have been cornered into arguing that our rights
<title>List of the permissions for Aristotle;s <quote>Politics</quote>.</title>
<graphic fileref="images/1622.png"></graphic>
</figure>
+<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
<para>
Finally (and most embarrassingly), here are the permissions for the
original e-book version of my last book, <citetitle>The Future of
won't read aloud.
</para>
<indexterm><primary>Marx Brothers</primary></indexterm>
+<indexterm><primary>Warner Brothers</primary></indexterm>
<para>
<!-- PAGE BREAK 163 -->
These are <emphasis>controls</emphasis>, not permissions. Imagine a
We've only scratched the surface of this story. Return to the Adobe
eBook Reader.
</para>
-<indexterm><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxalicesadventuresinwonderlandcarroll' class='startofrange'><primary>Alice's Adventures in Wonderland (Carroll)</primary></indexterm>
+<indexterm id='idxpublicdomainebookrestrictionson2' class='startofrange'><primary>public domain</primary><secondary>e-book restrictions on</secondary></indexterm>
<para>
Early in the life of the Adobe eBook Reader, Adobe suffered a public
relations nightmare. Among the books that you could download for free
such a use of an eBook Reader was fair? Adobe didn't answer because
the answer, however absurd it might seem, is no.
</para>
+<indexterm startref='idxalicesadventuresinwonderlandcarroll' class='endofrange'/>
+<indexterm startref='idxpublicdomainebookrestrictionson2' class='endofrange'/>
<para>
The point is not to blame Adobe. Indeed, Adobe is among the most
innovative companies developing strategies to balance open access to
individuals and groups dedicated to spreading culture
generally.<footnote><para>
<!-- f1. -->
+<indexterm><primary>pornography</primary></indexterm>
There's a parallel here with pornography that is a bit hard to
describe, but it's a strong one. One phenomenon that the Internet
created was a world of noncommercial pornographers—people who
finally, former solicitor general Charles Fried.
</para>
<indexterm><primary>Fried, Charles</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Commerce Clause of</secondary></indexterm>
<para>
Fried was a special victory for our side. Every other former solicitor
general was hired by the other side to defend Congress's power to give
wanted to control.
</para>
<indexterm><primary>Gershwin, George</primary></indexterm>
+<indexterm><primary>Porgy and Bess</primary></indexterm>
+<indexterm><primary>pornography</primary></indexterm>
<para>
Dr. Seuss's representatives, for example, argued that it was
better for the Dr. Seuss estate to control what happened to
WIPO is the preeminent international body dealing with intellectual
property issues.
</para>
+<indexterm id='idxworldsummitontheinformationsocietywsis' class='startofrange'><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
<para>
Indeed, I was once publicly scolded for not recognizing this fact
about WIPO. In February 2003, I delivered a keynote address to a
thus the meeting about <quote>open and collaborative projects to create
public goods</quote> seemed perfectly appropriate within the WIPO agenda.
</para>
+<indexterm startref='idxworldsummitontheinformationsocietywsis' class='endofrange'/>
<indexterm><primary>Apple Corporation</primary></indexterm>
<para>
But there is one project within that list that is highly
first-year law student, but an embarrassment from a high government
official dealing with intellectual property issues.
</para>
+<indexterm><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
+<indexterm><primary>drugs</primary><secondary>pharmaceutical</secondary></indexterm>
<indexterm><primary>generic drugs</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>on pharmaceuticals</secondary></indexterm>
<para>
Second, who ever said that WIPO's exclusive aim was to <quote>promote</quote>
intellectual property maximally? As I had been scolded at the
projects / text-free-culture-lessig.git / blobdiff