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- by Petter Reinholdtsen 2012 with input from Martin Borg. -->
+ by Petter Reinholdtsen 2012-2015 with input from Martin Borg. -->
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+ * Add missing indexterm entries by comparing with the 2004 edition.
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- <!ENTITY translationblock "">
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+
<book id="index" lang="en">
<bookinfo>
<title>Free Culture</title>
<subtitle>How big media uses technology and the law to lock down
culture and control creativity</subtitle>
- <pubdate>2004-03-25</pubdate>
+ <pubdate>2015-09-04</pubdate>
+
+ <edition>1</edition>
<releaseinfo>Version 2004-02-10</releaseinfo>
</para>
<para>
-This version of <citetitle>Free Culture</citetitle> is licensed under
-a Creative Commons license. This license permits non-commercial use of
-this work, so long as attribution is given. For more information
-about the license, click the icon above, or visit
-<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
+This book is licensed under a Creative Commons license. This license
+permits non-commercial use of this work, so long as attribution is
+given. For more information about the license visit
+<ulink url="http://creativecommons.org/licenses/by-nc/1.0/"/>.
</para>
</legalnotice>
<abstract>
- <title>ABOUT THE AUTHOR</title>
+ <title>About the author</title>
<para>
-LAWRENCE LESSIG
+Lawrence Lessig
(<ulink url="http://www.lessig.org">http://www.lessig.org</ulink>),
-professor of law and a John A. Wilson Distinguished Faculty Scholar
-at Stanford Law School, is founder of the Stanford Center for Internet
+professor of law and a Roy L. Furman Professor of Law and Leadership
+at Harvard Law School, is founder of the Stanford Center for Internet
and Society and is chairman of the Creative Commons
(<ulink url="http://creativecommons.org">http://creativecommons.org</ulink>).
The author of The Future of Ideas (Random House, 2001) and Code: And
the boards of the Public Library of Science, the Electronic Frontier
Foundation, and Public Knowledge. He was the winner of the Free
Software Foundation's Award for the Advancement of Free Software,
-twice listed in BusinessWeek's <quote>e.biz 25,</quote> and named one of Scientific
-American's <quote>50 visionaries.</quote> A graduate of the University of
-Pennsylvania, Cambridge University, and Yale Law School, Lessig
-clerked for Judge Richard Posner of the U.S. Seventh Circuit Court of
-Appeals.
+twice listed in BusinessWeek's <quote>e.biz 25,</quote> and named one
+of Scientific American's <quote>50 visionaries.</quote> A graduate of
+the University of Pennsylvania, Cambridge University, and Yale Law
+School, Lessig clerked for Judge Richard Posner of the U.S. Seventh
+Circuit Court of Appeals.
</para>
</abstract>
-->
</mediaobject>
- <biblioid class="isbn">978-82-92812-XX-Y</biblioid>
+ <biblioid class="isbn">978-82-8067-010-6</biblioid>
<!-- LCCN from
http://catalog.loc.gov/cgi-bin/Pwebrecon.cgi?v3=1&DB=local&CMD=010a+2003063276&CNT=10+records+per+page
-->
<biblioid class="libraryofcongress">2003063276</biblioid>
+ <biblioid class="uri">http://free-culture.cc/</biblioid>
+
</bookinfo>
<!-- PAGE BREAK 3 -->
<dedication id="alsobylessig">
<itemizedlist>
<listitem><para>
-<!-- 2014 -->
-The USA is lesterland: The nature of congressional corruption
+The USA is lesterland: The nature of congressional corruption (2014)
</para></listitem>
<listitem><para>
-<!-- 2011, 2012 -->
-Republic, lost: How money corrupts Congress - and a plan to stop it
+Republic, lost: How money corrupts Congress - and a plan to stop it (2011)
</para></listitem>
<listitem><para>
-<!-- 2008 -->
-Remix: Making art and commerce thrive in the hybrid economy
+Remix: Making art and commerce thrive in the hybrid economy (2008)
</para></listitem>
<listitem><para>
-<!-- 2006 -->
-Code: Version 2.0
+Code: Version 2.0 (2006)
</para></listitem>
<listitem><para>
-<!-- 2001, 2002 -->
-The Future of Ideas: The Fate of the Commons in a Connected World
+The Future of Ideas: The Fate of the Commons in a Connected World (2001)
</para></listitem>
<listitem><para>
-<!-- 1999 -->
-Code: And Other Laws of Cyberspace
+Code: And Other Laws of Cyberspace (1999)
</para></listitem>
</itemizedlist>
</dedication>
<!-- PAGE BREAK 7 -->
<dedication><title></title>
<!-- FIXME figure out how to do this better in dblatex and docbook-xsl -->
-<?latex {\Huge \centering ?>
+<?latex {\Huge \centering
+?>
<para>
To Eric Eldred — whose work first drew me to this cause, and for whom
it continues still.
</para>
-<?latex } ?>
+<?latex } % \Huge \centering
+?>
</dedication>
<toc id="toc"></toc>
</para>
<indexterm startref='idxinternetdevelopmentof' class='endofrange'/>
<indexterm><primary>Barlow, Joel</primary></indexterm>
+<indexterm><primary>culture</primary><seealso>free culture</seealso></indexterm>
<indexterm id='idxculturecommercialvsnoncommercial' class='startofrange'><primary>culture</primary><secondary>commercial vs. noncommercial</secondary></indexterm>
<indexterm><primary>Webster, Noah</primary></indexterm>
<para>
the noble class live easily; those outside it don't. But it is
nobility of any form that is alien to our tradition.
</para>
-<!-- PAGE BREAK 26. FIXME: Ask author if "Is it" should be "It is" ? -->
+<!-- PAGE BREAK 26. -->
<para>
The story that follows is about this war. It is not about the
<quote>centrality of technology</quote> to ordinary life. I don't believe in gods,
<indexterm><primary>ASCAP</primary></indexterm>
<indexterm><primary>Dreyfuss, Rochelle</primary></indexterm>
<indexterm><primary>Girl Scouts</primary></indexterm>
+<indexterm><primary>creative property</primary><seealso>intellectual property rights</seealso></indexterm>
<indexterm id='idxcreativepropertyifvaluethenrighttheoryof' class='startofrange'><primary>creative property</primary><secondary><quote>if value, then right</quote> theory of</secondary></indexterm>
<indexterm id='idxifvaluethenrighttheory' class='startofrange'><primary><quote>if value, then right</quote> theory</primary></indexterm>
<para>
</para>
<indexterm startref='idxifvaluethenrighttheory' class='endofrange'/>
<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm><primary>creativity</primary><seealso>innovation</seealso></indexterm>
<indexterm id='idxcreativitylegalrestrictionson' class='startofrange'><primary>creativity</primary><secondary>legal restrictions on</secondary></indexterm>
<para>
Instead, in our tradition, intellectual property is an instrument. It
<indexterm startref='idxderivativeworkspiracyvs' class='endofrange'/>
<indexterm startref='idxpiracyderivativeworkvs' class='endofrange'/>
<indexterm startref='idxcreativitybytransformingpreviousworks' class='endofrange'/>
+<indexterm><primary>copyright</primary><seealso>copyright law</seealso></indexterm>
<indexterm id='idxcopyrightdurationof' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
<indexterm id='idxpublicdomaindefined' class='startofrange'><primary>public domain</primary><secondary>defined</secondary></indexterm>
<indexterm id='idxpublicdomaintraditionaltermforconversionto' class='startofrange'><primary>public domain</primary><secondary>traditional term for conversion to</secondary></indexterm>
didn't speak very well. But they had come to understand that they
had a lot of power with this language.
</para>
-<!-- FIXME removed a " from the end of the previous paragraph that did
- not match with any start quote. -->
</blockquote>
<indexterm startref='idxeducationinmedialiteracy' class='endofrange'/>
<indexterm startref='idxmedialiteracy' class='endofrange'/>
</para>
<indexterm><primary>ABC</primary></indexterm>
<indexterm><primary>CBS</primary></indexterm>
+<indexterm><primary>Cyber Rights (Godwin)</primary></indexterm>
+<indexterm><primary>Godwin, Mike</primary></indexterm>
+<indexterm id='idxinternetnewseventson' class='startofrange'><primary>Internet</primary><secondary>news events on</secondary></indexterm>
<para>
But in addition to this produced news about the <quote>tragedy of September
11,</quote> those of us tied to the Internet came to see a very different
cultures, it records private facts in a public way—it's a kind
of electronic <citetitle>Jerry Springer</citetitle>, available anywhere in the world.
</para>
+<indexterm startref='idxinternetnewseventson' class='endofrange'/>
<indexterm><primary>political discourse</primary></indexterm>
<indexterm id='idxinternetpublicdiscourseconductedon' class='startofrange'><primary>Internet</primary><secondary>public discourse conducted on</secondary></indexterm>
<para>
architecture that unleashes 60 percent of the brain [and] a legal
system that closes down that part of the brain.</quote>
</para>
-<indexterm startref='idxbrownjohnseely' class='endofrange'/>
<para>
We're building a technology that takes the magic of Kodak, mixes
moving images and sound, and adds a space for commentary and an
opportunity to spread that creativity everywhere. But we're building
the law to close down that technology.
</para>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
+<indexterm startref='idxbrownjohnseely' class='endofrange'/>
<para>
<quote>No way to run a culture,</quote> as Brewster Kahle, whom we'll meet in
chapter <xref xrefstyle="select: labelnumber" linkend="collectors"/>,
</para>
<section id="film">
<title>Film</title>
+<indexterm><primary>Hollywood film industry</primary><seealso>film industry</seealso></indexterm>
+<indexterm id='idxhollywoodfilmindustry' class='startofrange'><primary>Hollywood film industry</primary></indexterm>
+<indexterm id='idxpatentsonfilmtechnology' class='startofrange'><primary>patents</primary><secondary>on film technology</secondary></indexterm>
<para>
The film industry of Hollywood was built by fleeing pirates.<footnote><para>
<!-- f1 -->
law. And the leaders of Hollywood filmmaking, Fox most prominently,
did just that.
</para>
+<indexterm startref='idxhollywoodfilmindustry' class='endofrange'/>
<para>
Of course, California grew quickly, and the effective enforcement
of federal law eventually spread west. But because patents grant the
expired. A new industry had been born, in part from the piracy of
Edison's creative property.
</para>
+<indexterm startref='idxpatentsonfilmtechnology' class='endofrange'/>
</section>
<section id="recordedmusic">
<title>Recorded Music</title>
an exclusive right to public performances of his work. The radio
station thus owes the composer money for that performance.
</para>
+<indexterm id='idxradiomusicrecordingsplayedon' class='startofrange'><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
<para>
But when the radio station plays a record, it is not only performing a
copy of the <emphasis>composer's</emphasis> work. The radio station is
her anything.
</para>
<indexterm startref='idxartistsrecordingindustrypaymentsto' class='endofrange'/>
+<indexterm startref='idxradiomusicrecordingsplayedon' class='endofrange'/>
<indexterm startref='idxmadonna' class='endofrange'/>
<para>
No doubt, one might argue that, on balance, the recording artists
</para>
<indexterm><primary>Asia, commercial piracy in</primary></indexterm>
<indexterm><primary>piracy</primary><secondary>in Asia</secondary></indexterm>
+<indexterm><primary>open-source software</primary><see>free software/open-source software (FS/OSS)</see></indexterm>
<indexterm><primary>free software/open-source software (FS/OSS)</primary></indexterm>
<indexterm><primary>GNU/Linux operating system</primary></indexterm>
<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
<indexterm><primary>Fanning, Shawn</primary></indexterm>
+<indexterm><primary>innovation</primary><seealso>creativity</seealso></indexterm>
<indexterm><primary>innovation</primary></indexterm>
<indexterm id='idxnapster' class='startofrange'><primary>Napster</primary></indexterm>
Peer-to-peer sharing was made famous by Napster. But the inventors of
technology, the labels fought it.</quote><footnote><para>
<!-- f10 -->
<indexterm><primary>cassette recording</primary></indexterm>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the
Music Industry's Business Model Crisis</citetitle> (2003), 3. This report
describes the music industry's effort to stigmatize the budding
sense <emphasis>to the company</emphasis> to make it available.
</para>
<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
+<indexterm><primary>used record sales</primary></indexterm>
<para>
In real space—long before the Internet—the market had a simple
<!-- PAGE BREAK 85 -->
price.
</para>
<indexterm startref='idxcongressusonrecordingindustry2' class='endofrange'/>
+<indexterm><primary>copyright law</primary><secondary>two central goals of</secondary></indexterm>
<para>
<!-- PAGE BREAK 88 -->
<indexterm startref='idxcabletv2' class='endofrange'/>
<indexterm id='idxbetamax' class='startofrange'><primary>Betamax</primary></indexterm>
<indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
+<indexterm id='idxsonybetamaxtechnologydevelopedby' class='startofrange'><primary>Sony</primary><secondary>Betamax technology developed by</secondary></indexterm>
<para>
In the same year that Congress struck this balance, two major
producers and distributors of film content filed a lawsuit against
</para>
<indexterm id='idxcongressusoncopyrightlaws3' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
<indexterm><primary>Congress, U.S.</primary><secondary>on VCR technology</secondary></indexterm>
+<indexterm id='idxvalentijackonvcrtechnology' class='startofrange'><primary>Valenti, Jack</primary><secondary>on VCR technology</secondary></indexterm>
<para>
MPAA president Jack Valenti became the studios' most vocal
champion. Valenti called VCRs <quote>tapeworms.</quote> He warned, <quote>When there are
</para></footnote>
</para>
<indexterm startref='idxbetamax' class='endofrange'/>
+<indexterm startref='idxsonybetamaxtechnologydevelopedby' class='endofrange'/>
<para>
It took eight years for this case to be resolved by the Supreme
Court. In the interim, the Ninth Circuit Court of Appeals, which
</para></footnote>
<indexterm><primary>Kozinski, Alex</primary></indexterm>
</para>
+<indexterm startref='idxvalentijackonvcrtechnology' class='endofrange'/>
<para>
But the Supreme Court reversed the decision of the Ninth Circuit.
<para>
In each case throughout our history, a new technology changed the
way content was distributed.<footnote><para>
+<indexterm><primary>DAT (digital audio tape)</primary></indexterm>
<!-- f24 -->
These are the most important instances in our history, but there are other
cases as well. The technology of digital audio tape (DAT), for example,
what others might prefer you forget.<footnote><para>
<!-- f1 -->
<indexterm><primary>Iraq war</primary></indexterm>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
<indexterm><primary>White House press releases</primary></indexterm>
The temptations remain, however. Brewster Kahle reports that the White
House changes its own press releases without notice. A May 13, 2003,
around the world, yet there is but one copy of the Internet—the
one kept by the Internet Archive.
</para>
+<indexterm id='idxkahlebrewster' class='startofrange'><primary>Kahle, Brewster</primary></indexterm>
<para>
Brewster Kahle is the founder of the Internet Archive. He was a very
successful Internet entrepreneur after he was a successful computer
that Kahle and others would exercise.
</para>
<indexterm startref='idxarchivesdigital1' class='endofrange'/>
+<indexterm startref='idxkahlebrewster' class='endofrange'/>
<!-- PAGE BREAK 127 -->
</chapter>
<chapter label="10" id="property-i">
<title>Chapter Ten: <quote>Property</quote></title>
<indexterm><primary>Johnson, Lyndon</primary></indexterm>
<indexterm><primary>Kennedy, John F.</primary></indexterm>
+<indexterm id='idxvalentijackbackgroundof' class='startofrange'><primary>Valenti, Jack</primary><secondary>background of</secondary></indexterm>
<para>
<emphasis role='strong'>Jack Valenti</emphasis> has been the president
of the Motion Picture Association of America since 1966. He first came
tradition, even if the subtle pull of his Texan charm has slowly
redefined that tradition, at least in Washington.
</para>
+<indexterm startref='idxvalentijackbackgroundof' class='endofrange'/>
<para>
While <quote>creative property</quote> is certainly <quote>property</quote> in a nerdy and
precise sense that lawyers are trained to understand,<footnote><para>
Congress in a way that, for our Constitution, at least, is very
odd. Article I, section 8, clause 8 of our Constitution states that:
</para>
+<blockquote>
<para>
Congress has the power to promote the Progress of Science and
useful Arts, by securing for limited Times to Authors and Inventors
the exclusive Right to their respective Writings and Discoveries.
+</para>
+</blockquote>
<!-- PAGE BREAK 142 -->
+<para>
We can call this the <quote>Progress Clause,</quote> for notice what this clause
does not say. It does not say Congress has the power to grant
<quote>creative property rights.</quote> It says that Congress has the power
the term increased once again. In 1909, Congress extended the renewal
term of 14 years to 28 years, setting a maximum term of 56 years.
</para>
+<indexterm><primary>CTEA</primary><seealso>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</seealso></indexterm>
<indexterm id='idxsonnybonocopyrighttermextensionactctea' class='startofrange'><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
<indexterm id='idxpublicdomainfuturepatentsvsfuturecopyrightsin' class='startofrange'><primary>public domain</primary><secondary>future patents vs. future copyrights in</secondary></indexterm>
<para>
</para>
<indexterm startref='idxderivativeworkspiracyvs4' class='endofrange'/>
<indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
+<figure id="fig-1541">
+<title></title>
+<graphic fileref="images/1541.svg" align="center" width="40%"></graphic>
+</figure>
<indexterm id='idxfairuse' class='startofrange'><primary>fair use</primary></indexterm>
<indexterm id='idxcopyrightlawfairuseand2' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
<para>
that remain unregulated because the law considers these <quote>fair uses.</quote>
</para>
<!-- PAGE BREAK 153 -->
-<figure id="fig-1541">
-<title></title>
-<graphic fileref="images/1541.svg" align="center" width="40%"></graphic>
-</figure>
<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
<indexterm><primary>First Amendment</primary></indexterm>
<para>
technology, and the publisher delivers the content by using the
technology.
</para>
+<figure id="fig-example-adobe-ebook-reader" float="1">
+<title></title>
+<graphic fileref="images/example-adobe-ebook-reader.png" align="center" width="50%"></graphic>
+</figure>
<para>
In figure
<xref xrefstyle="template:%n" linkend="fig-example-adobe-ebook-reader"/>
<citetitle>Middlemarch</citetitle>, you'll see a fancy cover, and then
a button at the bottom called Permissions.
</para>
-<figure id="fig-example-adobe-ebook-reader">
-<title></title>
-<graphic fileref="images/example-adobe-ebook-reader.png" align="center" width="50%"></graphic>
-</figure>
<para>
If you click on the Permissions button, you'll see a list of the
permissions that the publisher purports to grant with this book.
</para>
<figure id="fig-1621">
<title></title>
-<graphic fileref="images/1621.png" align="center" width="50%"></graphic>
+<graphic fileref="images/aristotele-ebook.png" align="center" width="50%"></graphic>
</figure>
<para>
According to its permissions, no printing or copying is permitted
<para>
No argument I have can top this picture, but let me try to get close.
</para>
+<figure id="fig-1711-vcr-handgun-cartoonfig" float="1">
+<title>— On which item have the courts ruled that manufacturers and
+retailers be held responsible for having supplied the
+equipment?</title>
+<graphic fileref="images/vcr-comic.png" align="center" width="65%"></graphic>
+</figure>
<para>
The anticircumvention provisions of the DMCA target copyright
circumvention technologies. Circumvention technologies can be used for
such a use would be good. It, too, is a technology that has both good
and bad uses.
</para>
-<figure id="fig-1711-vcr-handgun-cartoonfig" float="1">
-<title>— On which item have the courts ruled that manufacturers and
-retailers be held responsible for having supplied the
-equipment?</title>
-<graphic fileref="images/1711.png" align="center" width="100%"></graphic>
-</figure>
<indexterm><primary>Conrad, Paul</primary></indexterm>
<para>
The obvious point of Conrad's cartoon is the weirdness of a world
31 May 2003.
</para></footnote>
</para>
+<indexterm id='idxradioownershipconsolidationin' class='startofrange'><primary>radio</primary><secondary>ownership consolidation in</secondary></indexterm>
<para>
The story with radio is even more dramatic. Before deregulation,
the nation's largest radio broadcasting conglomerate owned fewer than
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxradioownershipconsolidationin' class='endofrange'/>
<para>
The pattern with Murdoch is the pattern of modern media. Not
just large companies owning many radio stations, but a few companies
</para>
<figure id="fig-1761-pattern-modern-media-ownership">
<title></title>
-<graphic fileref="images/pattern-modern-media-ownership.png" align="center" width="90%"></graphic>
+<graphic fileref="images/pattern-modern-media-ownership.png" align="center" width="100%"></graphic>
</figure>
<para>
<!-- PAGE BREAK 175 -->
</para></footnote>
</para>
</blockquote>
+<indexterm><primary>democracy</primary><secondary>media concentration and</secondary></indexterm>
<para>
This narrowing has an effect on what is produced. The product of such
large and concentrated networks is increasingly homogenous.
wars. Government policy is strongly directed against the drug cartels;
criminal and civil courts are filled with the consequences of this battle.
</para>
+<indexterm><primary>criminal justice system</primary></indexterm>
<para>
Let me hereby disqualify myself from any possible appointment to
any position in government by saying I believe this war is a profound
weave together a string—a mash-up— of songs from your
favorite artists in a collage and make it available on the Net.
</para>
+<indexterm><primary>democracy</primary><secondary>digital sharing within</secondary></indexterm>
+<indexterm><primary>Kodak cameras</primary></indexterm>
<para>
This digital <quote>capturing and sharing</quote> is in part an extension of the
capturing and sharing that has always been integral to our culture,
no more than $250,000 in damages for pain and
suffering.<footnote>
<para>
-<!-- f2. --> The bill, modeled after California's tort reform model, was passed in the
+<!-- f2. -->
+The bill, modeled after California's tort reform model, was passed in the
House of Representatives but defeated in a Senate vote in July 2003. For
an overview, see Tanya Albert, <quote>Measure Stalls in Senate: `We'll Be Back,'
Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at
available at
<ulink url="http://free-culture.cc/notes/">link #39</ulink>. President Bush has continued to urge tort reform in
recent months.
+<indexterm><primary>tort reform</primary></indexterm>
<indexterm><primary>Bush, George W.</primary></indexterm>
</para></footnote>
Can common sense recognize the absurdity in a world where
</para>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<indexterm><primary>Kennedy, John F.</primary></indexterm>
+<indexterm><primary>Monroe, Marilyn</primary></indexterm>
+<indexterm id='idxradiomusicrecordingsplayedon2' class='startofrange'><primary>radio</primary><secondary>music recordings played on</secondary></indexterm>
<para>
<!-- PAGE BREAK 204 -->
at stopping any efforts to get Congress to require compensation to the
recording artists.
</para>
+<indexterm startref='idxradiomusicrecordingsplayedon2' class='endofrange'/>
<para>
Enter Internet radio. Like regular radio, Internet radio is a
technology to stream content from a broadcaster to a listener. The
<!-- f2. -->
<indexterm><primary>Bono, Mary</primary></indexterm>
<indexterm><primary>Bono, Sonny</primary></indexterm>
+<indexterm><primary>Valenti, Jack</primary><secondary>perpetual copyright term proposed by</secondary></indexterm>
The full text is: <quote>Sonny [Bono] wanted the term of copyright
protection to last forever. I am informed by staff that such a change
would violate the Constitution. I invite all of you to work with me to
</para></footnote>
</para>
+<indexterm><primary>Kahle, Brewster</primary></indexterm>
<para>
Think practically about the consequence of this
extension—practically,
<para>
But this situation has now changed.
</para>
+<indexterm id='idxkahlebrewster2' class='startofrange'><primary>Kahle, Brewster</primary></indexterm>
<indexterm id='idxarchivesdigital2' class='startofrange'><primary>archives, digital</primary></indexterm>
<para>
One crucially important consequence of the emergence of digital
So won't Random House do as well as Brewster Kahle in spreading
culture widely?</quote>
</para>
+<indexterm startref='idxkahlebrewster2' class='endofrange'/>
<para>
Maybe. Someday. But there is absolutely no evidence to suggest that
publishers would be as complete as libraries. If Barnes & Noble
mistake lost it.
</para>
<indexterm><primary>Steward, Geoffrey</primary></indexterm>
+<indexterm id='idxjonesdayreavisandpoguejonesday' class='startofrange'><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
<emphasis role='strong'>The mistake</emphasis> was made early, though
it became obvious only at the very end. Our case had been supported
speech and free culture; otherwise, they would never vote against <quote>the
most powerful media companies in the world.</quote>
</para>
+<indexterm startref='idxjonesdayreavisandpoguejonesday' class='endofrange'/>
<para>
I hate this view of the law. Of course I thought the Sonny Bono Act
was a dramatic harm to free speech and free culture. Of course I still
<indexterm><primary>Morrison, Alan</primary></indexterm>
<indexterm><primary>Public Citizen</primary></indexterm>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
+<indexterm><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
The same effort at balance was reflected in the legal team we gathered
to write our briefs in the case. The Jones Day lawyers had been with
<indexterm><primary>Ayer, Don</primary></indexterm>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
<indexterm><primary>Fried, Charles</primary></indexterm>
+<indexterm><primary>Jones, Day, Reavis and Pogue (Jones Day)</primary></indexterm>
<para>
One moot was before the lawyers at Jones Day. Don Ayer was the
skeptic. He had served in the Reagan Justice Department with Solicitor
everything else, let the content go.
</para>
<indexterm><primary>Forbes, Steve</primary></indexterm>
+<indexterm><primary>Democratic Party</primary></indexterm>
+<indexterm><primary>Republican Party</primary></indexterm>
<para>
The reaction to this idea was amazingly strong. Steve Forbes endorsed
it in an editorial. I received an avalanche of e-mail and letters
close.</quote> There was a general reaction in the blog community that
something good might happen here.
</para>
+<indexterm><primary>Valenti, Jack</primary><secondary>Eldred Act opposed by</secondary></indexterm>
<para>
But at this stage, the lobbyists began to intervene. Jack Valenti and
the MPAA general counsel came to the congresswoman's office to give
</para>
<indexterm startref='idxmicrosoftonfreesoftware' class='endofrange'/>
<indexterm><primary>Boland, Lois</primary></indexterm>
+<indexterm id='idxpatentandtrademarkofficeus' class='startofrange'><primary>Patent and Trademark Office, U.S.</primary></indexterm>
<para>
What was surprising was the United States government's reason for
opposing the meeting. Again, as reported by Krim, Lois Boland, acting
is supposed to be about: giving individuals the right to decide what
to do with <emphasis>their</emphasis> property.
</para>
-<indexterm id='idxboland' class='startofrange'><primary>Boland, Lois</primary></indexterm>
+<indexterm id='idxboland
lois' class='startofrange'><primary>Boland, Lois</primary></indexterm>
<para>
When Ms. Boland says that there is something wrong with a meeting
<quote>which has as its purpose to disclaim or waive such rights,</quote> she's
whether Republican or Democrat. My only illusion apparently is about
whether our government should speak the truth or not.)
</para>
-<indexterm startref='idxboland' class='endofrange'/>
+<indexterm startref='idxbolandlois' class='endofrange'/>
<para>
Obviously, however, the poster was not supporting that idea. Instead,
the poster was ridiculing the very idea that in the real world, the
It might be crazy to argue that we should preserve a tradition that has
been part of our tradition for most of our history—free culture.
</para>
+<indexterm startref='idxpatentandtrademarkofficeus' class='endofrange'/>
<para>
If this is crazy, then let there be more crazies. Soon.
</para>
</chapter>
<chapter label="" id="c-afterword">
<title>Afterword</title>
+<indexterm id='idxcopyrightvoluntaryreformeffortson' class='startofrange'><primary>copyright</primary><secondary>voluntary reform efforts on</secondary></indexterm>
<para>
<!-- PAGE BREAK 280 -->
story in their own words, and to tell their neighbors why this battle
is so important.
</para>
+<indexterm><primary>RCA</primary></indexterm>
+<indexterm startref='idxcopyrightvoluntaryreformeffortson' class='endofrange'/>
<para>
Once this movement has its effect in the streets, it has some hope of
having an effect in Washington. We are still a democracy. What people
<section id="usnow">
<title>Us, now</title>
+<indexterm id='idxcopyrightvoluntaryreformeffortson2' class='startofrange'><primary>copyright</primary><secondary>voluntary reform efforts on</secondary></indexterm>
<para>
<emphasis role='strong'>Common sense</emphasis> is with the copyright
warriors because the debate so far has been framed at the
well.
</para>
<indexterm startref='idxbooksfreeonline2' class='endofrange'/>
+<indexterm><primary>Leaphart, Walter</primary></indexterm>
<indexterm><primary>Public Enemy</primary></indexterm>
+<indexterm startref='idxcopyrightvoluntaryreformeffortson2' class='endofrange'/>
<indexterm><primary>rap music</primary></indexterm>
-<indexterm><primary>Leaphart, Walter</primary></indexterm>
<para>
These are examples of using the Commons to better spread proprietary
content. I believe that is a wonderful and common use of the
</para>
<indexterm startref='idxpromisestokeepfisher' class='endofrange'/>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>semiotic democracy</primary></indexterm>
+<indexterm><primary>democracy</primary><secondary>semiotic</secondary></indexterm>
<para>
Fisher would balk at the idea of allowing the system to lapse. His aim
is not just to ensure that artists are paid, but also to ensure that
highly unstable. I have tried to remedy the instability by redirecting
readers to the original source through the Web site associated with
this book. For each link below, you can go to
-http://free-culture.cc/notes and locate the original source by
-clicking on the number after the # sign. If the original link remains
-alive, you will be redirected to that link. If the original link has
-disappeared, you will be redirected to an appropriate reference for
-the material.
+<ulink url="http://free-culture.cc/notes"/>
+and locate the original source by clicking on the number after the #
+sign. If the original link remains alive, you will be redirected to
+that link. If the original link has disappeared, you will be
+redirected to an appropriate reference for the material.
</para>
<!-- insert endnotes here -->
-<?latex \theendnotes ?>
+
+<index type="endnotes"/>
<!--PAGE BREAK 336-->
</para>
<!--PAGE BREAK 338-->
+</chapter>
+
+<chapter label="" id="c-about-this-edition">
+ <title>About this edition</title>
+ <para>
+This edition of <citetitle>Free Culture</citetitle> is the result of
+three years of volunteer work. The idea came from a discussion I had
+around ten years ago with a friend about the copyright debate in
+Norway, and how rarely the difficulties of long copyright made it into
+the public debate. A bit more than three years ago I finally had a
+look again at the idea and decided to publish a printed Norwegian
+Bokmål version of <citetitle>Free Culture</citetitle>, translated and
+formatted by volunteers. The new English edition is a by-product of
+the translation process.
+ </para>
+
+ <para>
+Thanks to the Debian Edu / Skolelinux project, I already had
+experience translating Docbook documents, and it seemed like a good
+format for this book too. I found a Docbook formatted version of the
+book created by Hans Schou. Initial testing showed lots of Docbook
+validation errors in this version, but after some work I was able to
+transform it to PDF and EPUB. This was the start of the translation
+project. The Docbook file improved over time, and build rules were
+added to create both English and Bokmål versions. Finally, a call for
+volunteers went out to help me with the translation.
+ </para>
+
+ <para>
+Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd
+Kleiva, Kjetil Kilhavn og Kjetil T. Homme assisted with the initial
+translation. Ralph Amissah and his SiSu version provided index
+entries. Morten Sickel and Alexander Alemayhu helped with the
+figures, redrawing some of the bitmaps as vector images. Wivi
+Reinholdtsen, Ingrid Yrvin, Johannes Larsen and Gisle Hannemyr did
+very valuable proofreading. Håkon Wium Lie helped me track down a
+good replacement font without usage restrictions instead of the one in
+the original PDF. The PDF typesetting is done using dblatex, which we
+selected over the alternatives thanks to the invaluable and quick help
+from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN
+numbers needed for distribution to book stores. Marc Jeanmougin from
+the inkscape community helped me replicate the original front cover.
+The support of Lawrence Lessig helped me to complete the
+project—I am very thankful he had the original screen shots
+still available after 11 years.
+ </para>
+
+ <para>
+At the end of the project, when the translation was done and it was
+time to publish, NUUG Foundation was asked and was willing to sponsor
+books to members of the Norwegian parliament and other decision
+makers.
+ </para>
+
+ <para>
+In addition to these great contributors, I am very grateful to Mari
+and my family for their patience with me in this project.
+ </para>
+
+ <para>
+— Petter Reinholdtsen, Oslo 2015-09-07
+ </para>
+
</chapter>
<index></index>
<colophon>
-<?latex {\footnotesize ?>
-<?latex {\centering ?>
+<title></title>
+<?latex {\centering
+?>
<para>
Free culture: How big media uses technology and the law to lock down
culture and control creativity / Lawrence Lessig.
</para>
<para>
-Copyright © Lawrence Lessig. Some rights reserved.
+Copyright © 2004 Lawrence Lessig. Some rights reserved.
+</para>
+
+<para>
+<ulink url="http://free-culture.cc/"/>
</para>
+
<para>
-This version of <citetitle>Free Culture</citetitle> is licensed under
-a Creative Commons license. This license permits non-commercial use of
-this work, so long as attribution is given. For more information
-about the license visit
-<ulink url="http://creativecommons.org/licenses/by-nc/1.0/">http://creativecommons.org/licenses/by-nc/1.0/</ulink>
+Published in English and Norwegian Bokmål 2015 by Petter Reinholdtsen
+with help from many volunteers. Typeset with dblatex using the font
+Crimson Text.
</para>
+
<para>
-This digital book was published by Petter Reinholdtsen in 2015 in his
-spare time, because he believe it should be available in Norwegian.
-The original hardcover paper book was published in 2004 by The Penguin
-Press.
+First published 2004 by The Penguin Press.
</para>
+
<para>
Excerpt from an editorial titled <quote>The Coming of Copyright
Perpetuity,</quote> <citetitle>The New York Times</citetitle>, January
</para>
<para>
-Includes index.
+Cover created by Petter Reinholdtsen using inkscape.
+</para>
+
+<para>
+The quotes on the cover came from
+<ulink url="http://free-culture.cc/jacket/"/>.
+</para>
+
+<para>
+Portrait on the cover was created 2013 by ActuaLitté and licensed
+under a Creative Commons Attribution-ShareAlike 2.0 license. It was
+downloaded from
+<ulink url="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg"/>.
+</para>
+
+<para>
+Classifications:
+</para>
+
+<para>
+(Dewey)
+306.4,
+306.40973,
+306.46,
+341.7582,
+343.7309/9
</para>
<para>
-Classifications: (Dewey)
-306.4
-306.40973
-306.46
-341.7582
-343.7309/9,
(UDK) 347.78
-(US Lib. of Congress) KF2979.L47 2004
+</para>
+
+<para>
+(US Library of Congress) KF2979.L47 2004
+</para>
+
+<para>
(ACM CRCS) K.4.1
</para>
-<?latex } %\centering ?>
+<para>
+Thomas Gramstad Forlag donated the ISBN numbers.
+</para>
+
+<para>
+Printing was sponsed by NUUG Foundation,
+<ulink url="http://www.nuugfoundation.no/"/>.
+</para>
<para>
-Typeset using the Crimson Text font and dblatex. The dblatex author
-provided valuable help in formatting the print version of this book.
-Thomas Gramstad Forlag provided the ISBN numbers.
+Includes index.
</para>
+<?latex } %\centering
+?>
+
<para>
-The source of this version of the book is written using DocBook
-notation and the other formats are derived from the DocBook source.
-The DocBook source is based on a DocBook XML version created by Hans
-Schou, and extended by Petter Reinholdtsen with formatting and index
-references. The source files for this book are available from
+The Docbook source is available from
<ulink url="https://github.com/petterreinholdtsen/free-culture-lessig"/>.
+Please report any issues with the book there.
</para>
<para>
-&translationblock;
+ <informalfigure id="cc-logo">
+ <graphic fileref="images/cc.svg" align="center" width="11%"></graphic>
+ </informalfigure>
+</para>
+
+<para>
+This book is licensed under a Creative Commons license. This license
+permits non-commercial use of this work, so long as attribution is
+given. For more information about the license visit
+<ulink url="http://creativecommons.org/licenses/by-nc/1.0/"/>.
+</para>
+
+<para>
+This book is a proof reading draft. Please visit the github URL above
+to get the latest version.
</para>
<para>
<tgroup cols="2" align="left">
<thead>
<row>
- <entry>ISBN</entry>
<entry>Format / MIME-type</entry>
+ <entry>ISBN</entry>
</row>
</thead>
<tbody>
<row>
- <entry>978-82-92812-XX-Y</entry>
- <entry>Paper copy from XXX</entry>
- </row>
- <row>
- <entry>N/A</entry>
- <entry>text/plain</entry>
+ <entry>US Trade edition from lulu.com</entry>
+ <entry>978-82-8067-010-6</entry>
</row>
<row>
- <entry>978-82-92812-XX-Y</entry>
<entry>application/pdf</entry>
+ <entry>978-82-8067-011-3</entry>
</row>
<row>
- <entry>N/A</entry>
- <entry>text/html</entry>
- </row>
- <row>
- <entry>978-82-92812-XX-Y</entry>
<entry>application/epub+zip</entry>
+ <entry>978-82-8067-012-0</entry>
</row>
<row>
- <entry>978-82-92812-XX-Y</entry>
- <entry>application/docbook+xml</entry>
- </row>
- <row>
- <entry>978-82-92812-XX-Y</entry>
<entry>application/x-mobipocket-ebook</entry>
+ <entry>978-82-8067-013-7</entry>
</row>
</tbody>
</tgroup>
</informaltable>
</para>
-<?latex } %\tiny ?>
+
</colophon>
</book>
projects / text-free-culture-lessig.git / blobdiff