<?xml version='1.0' encoding='UTF-8' ?>
<?xml-stylesheet href="docbook-css-0.4/driver.css" type="text/css"?>
<!-- Converted to DocBook by Hans Schou 2004-03-29. Updated and improved
- by Petter Reinholdtsen 2012 with input from Martin Borg. -->
+ by Petter Reinholdtsen 2012-2015 with input from Martin Borg. -->
<!--
TODO
- * indexterm primary
+ * Add missing indexterm entries by comparing with the 2004 edition.
-->
<!DOCTYPE book PUBLIC "-//OASIS//DTD DocBook XML V4.5//EN"
"http://www.oasis-open.org/docbook/xml/4.5/docbookx.dtd"
[
<!ENTITY copy "©">
- <!ENTITY translationblock "">
]>
+
<book id="index" lang="en">
<bookinfo>
<title>Free Culture</title>
<abbrev>"freeculture"</abbrev>
- <subtitle>HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN
- CULTURE AND CONTROL CREATIVITY</subtitle>
+ <subtitle>How big media uses technology and the law to lock down
+ culture and control creativity</subtitle>
+
+ <pubdate>2015-09-04</pubdate>
- <pubdate>2004-03-25</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>
<!-- testing different ways to tag the cover page -->
<mediaobject role="cover">
<imageobject remap="lrg" role="front-large">
- <imagedata fileref="images/cover.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-72dpi.png" format="PNG" width="444" />
</imageobject>
-<!--
<imageobject remap="s" role="front">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
<imageobject remap="xs" role="front-small">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
<imageobject remap="cs" role="thumbnail">
- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
--->
</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>
<!-- PAGE BREAK 11 -->
<preface id="preface">
-<title>PREFACE</title>
+<title>Preface</title>
<indexterm id='idxpoguedavid' class='startofrange'><primary>Pogue, David</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
<para>
<emphasis role="bold">At the end</emphasis> of his review of my first
book, <citetitle>Code: And Other Laws of Cyberspace</citetitle>, David
<!-- PAGE BREAK 15 -->
<!-- PAGE BREAK 16 -->
-<chapter label="0" id="c-introduction">
-<title>INTRODUCTION</title>
+<chapter label="" id="c-introduction">
+<title>Introduction</title>
<indexterm id='idxwrightbrothers' class='startofrange'><primary>Wright brothers</primary></indexterm>
<para>
<emphasis role="strong">On December 17</emphasis>, 1903, on a windy North Carolina beach for just
</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,
</chapter>
<!-- PAGE BREAK 29 -->
<part id="c-piracy">
-<title><quote>PIRACY</quote></title>
+<title><quote>Piracy</quote></title>
<partintro>
<!-- PAGE BREAK 30 -->
<indexterm><primary>copyright law</primary><secondary>English</secondary></indexterm>
<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
<!-- PAGE BREAK 34 -->
<chapter label="1" id="creators">
-<title>Creators</title>
+<title>Chapter One: Creators</title>
<indexterm id='idxanimatedcartoons' class='startofrange'><primary>animated cartoons</primary></indexterm>
<indexterm id='idxcartoonfilms' class='startofrange'><primary>cartoon films</primary></indexterm>
<indexterm id='idxfilmsanimated' class='startofrange'><primary>films</primary><secondary>animated</secondary></indexterm>
<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>
<!-- PAGE BREAK 44 -->
</chapter>
<chapter label="2" id="mere-copyists">
-<title><quote>Mere Copyists</quote></title>
+<title>Chapter Two: <quote>Mere Copyists</quote></title>
<indexterm><primary>Daguerre, Louis</primary></indexterm>
<indexterm id='idxcameratechnology' class='startofrange'><primary>camera technology</primary></indexterm>
<indexterm id='idxphotography' class='startofrange'><primary>photography</primary></indexterm>
and empowered them to be able to both understand it and talk about
it,</quote> Barish explained. That tool succeeded in creating
expression—far more successfully and powerfully than could have
-been created using only text. <quote>If you had said to these students, `you
-have to do it in text,' they would've just thrown their hands up and
+been created using only text. <quote>If you had said to these students, <quote>you
+have to do it in text,</quote> they would've just thrown their hands up and
gone and done something else,</quote> Barish described, in part, no doubt,
because expressing themselves in text is not something these students
can do well. Yet neither is text a form in which
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"/>,
<!-- PAGE BREAK 61 -->
</chapter>
<chapter label="3" id="catalogs">
-<title>Catalogs</title>
+<title>Chapter Three: Catalogs</title>
<indexterm><primary>Jordan, Jesse</primary></indexterm>
<indexterm><primary>RPI</primary><see>Rensselaer Polytechnic Institute (RPI)</see></indexterm>
<indexterm id='idxrensselaer' class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary></indexterm>
<!-- PAGE BREAK 66 -->
</chapter>
<chapter label="4" id="pirates">
-<title><quote>Pirates</quote></title>
+<title>Chapter Four: <quote>Pirates</quote></title>
<indexterm id='idxpiracyindevelopmentofcontentindustry' class='startofrange'><primary>piracy</primary><secondary>in development of content industry</secondary></indexterm>
<indexterm><primary><quote>if value, then right</quote> theory</primary></indexterm>
<para>
</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 -->
</para>
</blockquote>
<para>
-The Napsters of those days, the <quote>independents,</quote> were companies like
-Fox. And no less than today, these independents were vigorously
-resisted. <quote>Shooting was disrupted by machinery stolen, and
-`accidents' resulting in loss of negatives, equipment, buildings and
-sometimes life and limb frequently occurred.</quote><footnote><para>
+The Napsters of those days, the <quote>independents,</quote> were
+companies like Fox. And no less than today, these independents were
+vigorously resisted. <quote>Shooting was disrupted by machinery
+stolen, and <quote>accidents</quote> resulting in loss of negatives,
+equipment, buildings and sometimes life and limb frequently
+occurred.</quote><footnote><para>
<!-- f3 -->
Marc Wanamaker, <quote>The First Studios,</quote> <citetitle>The Silents Majority</citetitle>, archived at
<ulink url="http://free-culture.cc/notes/">link #12</ulink>.
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>
its composer anything.
</para>
<indexterm startref='idxfourneauxhenri' class='endofrange'/>
+<indexterm id='idxkittredgealfred' class='startofrange'><primary>Kittredge, Alfred</primary></indexterm>
+<indexterm id='idxmusicpublishing' class='startofrange'><primary>music publishing</primary></indexterm>
<para>
The composers (and publishers) were none too happy about
<!-- PAGE BREAK 69 -->
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxkittredgealfred' class='endofrange'/>
<indexterm><primary>Sousa, John Philip</primary></indexterm>
<para>
The innovators who developed the technology to record other
(statement of John Philip Sousa, composer).
</para></footnote>
</para>
+<indexterm startref='idxmusicpublishing' class='endofrange'/>
<indexterm><primary>American Graphophone Company</primary></indexterm>
<indexterm><primary>player pianos</primary></indexterm>
<indexterm><primary>sheet music</primary></indexterm>
</para></footnote> In any case, the innovators argued, the job of
Congress was <quote>to consider first the interest of [the public], whom
they represent, and whose servants they are.</quote> <quote>All talk about
-`theft,'</quote> the general counsel of the American Graphophone Company
+<quote>theft,</quote></quote> the general counsel of the American Graphophone Company
wrote, <quote>is the merest claptrap, for there exists no property in ideas
musical, literary or artistic, except as defined by
statute.</quote><footnote><para>
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
</section>
</chapter>
<chapter label="5" id="piracy">
-<title><quote>Piracy</quote></title>
+<title>Chapter Five: <quote>Piracy</quote></title>
<para>
<emphasis role='strong'>There is piracy</emphasis> of copyrighted
material. Lots of it. This piracy comes in many forms. The most
</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
do—the kinds of sharing that file sharing enables, and the kinds
of harm it entails.
</para>
+<indexterm id='idxpeertopeerppfilesharingfourtypesof' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>four types of</secondary></indexterm>
+<indexterm><primary>Napster</primary><secondary>range of content on</secondary></indexterm>
<para>
<!-- PAGE BREAK 81 -->
File sharers share different kinds of content. We can divide these
wants to give away.
</para></listitem>
</orderedlist>
+<indexterm startref='idxpeertopeerppfilesharingfourtypesof' class='endofrange'/>
<para>
How do these different types of sharing balance out?
</para>
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
</para>
<indexterm><primary>MTV</primary></indexterm>
<para>
-Yet soon thereafter, and before Congress was given an opportunity
-to enact regulation, MTV was launched, and the industry had a record
-turnaround. <quote>In the end,</quote> Cap Gemini concludes, <quote>the `crisis' … was
-not the fault of the tapers—who did not [stop after MTV came into
+Yet soon thereafter, and before Congress was given an opportunity to
+enact regulation, MTV was launched, and the industry had a record
+turnaround. <quote>In the end,</quote> Cap Gemini concludes,
+<quote>the <quote>crisis</quote> … was not the fault of the
+tapers—who did not [stop after MTV came into
<!-- PAGE BREAK 83 -->
being]—but had to a large extent resulted from stagnation in musical
innovation at the major labels.</quote><footnote><para>
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 -->
<quote>But isn't the war just a war against illegal sharing? Isn't the target
just what you call type A sharing?</quote>
</para>
+<indexterm id='idxcopyrightinfringementlawsuitszerotolerancein' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>zero tolerance in</secondary></indexterm>
+<indexterm id='idxnapsterinfringingmaterialblockedby' class='startofrange'><primary>Napster</primary><secondary>infringing material blocked by</secondary></indexterm>
+<indexterm id='idxpeertopeerppfilesharinginfringementprotectionsin' class='startofrange'><primary>peer-to-peer (p2p) file sharing</primary><secondary>infringement protections in</secondary></indexterm>
<para>
You would think. And we should hope. But so far, it is not. The effect
of the war purportedly on type A sharing alone has been felt far
York: Crown Business, 2003), 269–82.
</para></footnote>
</para>
+<indexterm startref='idxnapsterinfringingmaterialblockedby' class='endofrange'/>
+<indexterm startref='idxpeertopeerppfilesharinginfringementprotectionsin' class='endofrange'/>
<para>
If 99.4 percent is not good enough, then this is a war on file-sharing
technologies, not a war on copyright infringement. There is no way to
p2p, even for the totally legal and beneficial uses they serve, simply to
assure that there are zero copyright infringements caused by p2p.
</para>
+<indexterm startref='idxcopyrightinfringementlawsuitszerotolerancein' class='endofrange'/>
<para>
Zero tolerance has not been our history. It has not produced the
content industry that we know today. The history of American law has
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
-20, 30, 40 million of these VCRs in the land, we will be invaded by
-millions of `tapeworms,' eating away at the very heart and essence of
-the most precious asset the copyright owner has, his
-copyright.</quote><footnote><para>
+champion. Valenti called VCRs <quote>tapeworms.</quote> He warned,
+<quote>When there are 20, 30, 40 million of these VCRs in the land, we
+will be invaded by millions of <quote>tapeworms,</quote> eating away
+at the very heart and essence of the most precious asset the copyright
+
owner has, his copyright.</quote><footnote><para>
<!-- f18 -->
Copyright Infringements (Audio and Video Recorders): Hearing on
S. 1758 Before the Senate Committee on the Judiciary, 97th Cong., 1st
</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,
incentives,</quote> they say, <quote>misses a fundamental point. Our
content,</quote> the warriors insist, <quote>is our
<emphasis>property</emphasis>. Why should we wait for Congress to
-`rebalance' our property rights? Do you have to wait before calling
-the police when your car has been stolen? And why should Congress
-deliberate at all about the merits of this theft? Do we ask whether
-the car thief had a good use for the car before we arrest him?</quote>
+<quote>rebalance</quote> our property rights? Do you have to wait
+before calling the police when your car has been stolen? And why
+should Congress deliberate at all about the merits of this theft? Do
+we ask whether the car thief had a good use for the car before we
+arrest him?</quote>
</para>
<para>
<quote>It is <emphasis>our property</emphasis>,</quote> the warriors
</chapter>
</part>
<part id="c-property">
-<title><quote>PROPERTY</quote></title>
+<title><quote>Property</quote></title>
<partintro>
<para>
<!-- PAGE BREAK 96 -->
<chapter label="6" id="founders">
-<title>Founders</title>
+<title>Chapter Six: Founders</title>
<indexterm id='idxbooksenglishcopyrightlawdevelopedfor' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
<indexterm id='idxcopyrightlawdevelopmentof' class='startofrange'><primary>copyright law</primary><secondary>development of</secondary></indexterm>
<indexterm id='idxcopyrightlawenglish' class='startofrange'><primary>copyright law</primary><secondary>English</secondary></indexterm>
<!-- PAGE BREAK 106 -->
</chapter>
<chapter label="7" id="recorders">
-<title>Recorders</title>
+<title>Chapter Seven: Recorders</title>
<indexterm id='idxcopyrightlawfairuseand' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
<indexterm id='idxdocumentaryfilm' class='startofrange'><primary>documentary film</primary></indexterm>
<indexterm id='idxelsejon' class='startofrange'><primary>Else, Jon</primary></indexterm>
to use this four-point-five seconds of … entirely unsolicited
<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
</para>
-<indexterm startref='idxgroeningmatt' class='endofrange'/>
-<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
<indexterm id='idxherrerarebecca' class='startofrange'><primary>Herrera, Rebecca</primary></indexterm>
<para>
Else was certain there was a mistake. He worked his way up to someone
replaced the shot with a clip from another film that he had worked on,
<citetitle>The Day After Trinity</citetitle>, from ten years before.
</para>
-<indexterm id='idxfoxfilmcompany2' class='startofrange'><primary>Fox (film company)</primary></indexterm>
-<indexterm id='idxgroeningmatt2' class='startofrange'><primary>Groening, Matt</primary></indexterm>
<para>
There's no doubt that someone, whether Matt Groening or Fox, owns the
copyright to <citetitle>The Simpsons</citetitle>. That copyright is their property. To use
episode is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair use does
not require the permission of anyone.
</para>
-<indexterm startref='idxfoxfilmcompany2' class='endofrange'/>
-<indexterm startref='idxgroeningmatt2' class='endofrange'/>
+<indexterm startref='idxfoxfilmcompany' class='endofrange'/>
+<indexterm startref='idxgroeningmatt' class='endofrange'/>
<para>
<!-- PAGE BREAK 109 -->
So I asked Else why he didn't just rely upon <quote>fair use.</quote> Here's his reply:
<!-- PAGE BREAK 111 -->
</chapter>
<chapter label="8" id="transformers">
-<title>Transformers</title>
+<title>Chapter Eight: Transformers</title>
<indexterm><primary>Allen, Paul</primary></indexterm>
<indexterm id='idxalbenalex1' class='startofrange'><primary>Alben, Alex</primary></indexterm>
<indexterm><primary>Microsoft</primary></indexterm>
<!-- PAGE BREAK 119 -->
</chapter>
<chapter label="9" id="collectors">
-<title>Collectors</title>
+<title>Chapter Nine: Collectors</title>
<indexterm id='idxarchivesdigital1' class='startofrange'><primary>archives, digital</primary></indexterm>
<indexterm><primary>bots</primary></indexterm>
<para>
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
</para>
<blockquote>
<indexterm><primary>books</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>films</primary><secondary>total number of</secondary></indexterm>
+<indexterm><primary>music recordings</primary><see>peer-to-peer (p2p) file sharing</see></indexterm>
+<indexterm><primary>music recordings</primary><see>recording industry</see></indexterm>
+<indexterm><primary>music recordings</primary><secondary>total number of</secondary></indexterm>
<para>
It looks like there's about two to three million recordings of music.
Ever. There are about a hundred thousand theatrical releases of
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><quote>Property</quote></title>
+<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
prominent and effective lobbyist in Washington.
</para>
<indexterm><primary>Disney, Inc.</primary></indexterm>
-<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
<indexterm><primary>MGM</primary></indexterm>
<indexterm><primary>Paramount Pictures</primary></indexterm>
<indexterm><primary>Twentieth Century Fox</primary></indexterm>
+<indexterm><primary>Sony Pictures Entertainment</primary></indexterm>
<indexterm><primary>Universal Pictures</primary></indexterm>
<indexterm><primary>Warner Brothers</primary></indexterm>
<para>
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>
but whether institutions designed to assure that artists get paid need
also control how culture develops.
</para>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
<indexterm id='idxfreeculturefourmodalitiesofconstrainton' class='startofrange'><primary>free culture</primary><secondary>four modalities of constraint on</secondary></indexterm>
<indexterm id='idxregulationfourmodalitiesof' class='startofrange'><primary>regulation</primary><secondary>four modalities of</secondary></indexterm>
<indexterm id='idxcopyrightlawasexpostregulationmodality' class='startofrange'><primary>copyright law</primary><secondary>as ex post regulation modality</secondary></indexterm>
weaken the right or regulation. I represented it with this diagram:
</para>
<figure id="fig-1331">
-<title>How four different modalities of regulation interact to support or weaken the right or regulation.</title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>Madonna</primary></indexterm>
<para>
Other Laws of Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95;
Lawrence Lessig, <quote>The New Chicago School,</quote> <citetitle>Journal of Legal Studies</citetitle>,
June 1998.
+<indexterm><primary>Code (Lessig)</primary></indexterm>
</para></footnote>
The law, in other words, sometimes operates to increase or decrease
the constraint of a particular modality. Thus, the law might be used
<indexterm startref='idxdrivingspeedconstraintson' class='endofrange'/>
<indexterm startref='idxspeedingconstraintson' class='endofrange'/>
<figure id="fig-1361">
-<title>Law has a special role in affecting the three.</title>
-<graphic fileref="images/1361.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1361.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<indexterm><primary>Commons, John R.</primary></indexterm>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<indexterm><primary>market constraints</primary></indexterm>
+<indexterm><primary>Code (Lessig)</primary></indexterm>
</para></footnote>
</para>
<indexterm startref='idxlawasconstraintmodality2' class='endofrange'/>
Internet:
</para>
<figure id="fig-1371">
-<title>Copyright's regulation before the Internet.</title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
looting that results.
</para>
<figure id="fig-1381">
-<title>effective state of anarchy after the Internet.</title>
-<graphic fileref="images/1381.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1381.svg" align="center" width="45%"></graphic>
</figure>
<indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
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
started here:
</para>
<figure id="fig-1441">
-<title>Copyright's regulation before the Internet.</title>
-<graphic fileref="images/1331.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
<para>
We will end here:
</para>
<figure id="fig-1442">
-<title><quote>Copyright</quote> today.</title>
-<graphic fileref="images/1442.svg" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/1442.svg" align="center" width="45%"></graphic>
</figure>
<para>
Let me explain how.
authorship.<footnote>
<para>
<!-- f8 -->
-William W. Crosskey, <citetitle>Politics and the Constitution in the History of
-the United States</citetitle> (London: Cambridge University Press, 1953), vol. 1,
-485–86: <quote>extinguish[ing], by plain implication of `the supreme
-Law of the Land,' <emphasis>the perpetual rights which authors had, or
-were supposed by some to have, under the Common Law</emphasis></quote>
-(emphasis added).
+William W. Crosskey, <citetitle>Politics and the Constitution in the
+History of the United States</citetitle> (London: Cambridge University
+Press, 1953), vol. 1, 485–86: <quote>extinguish[ing], by plain
+implication of <quote>the supreme Law of the Land,</quote>
+<emphasis>the perpetual rights which authors had, or were supposed by
+some to have, under the Common Law</emphasis></quote> (emphasis
+added).
<indexterm><primary>Crosskey, William W.</primary></indexterm>
</para></footnote>
This meant that there was no guaranteed public domain in the United
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>
empty circle.
</para>
<figure id="fig-1521">
-<title>All potential uses of a book.</title>
+<title></title>
<graphic fileref="images/1521.svg" align="center" width="40%"></graphic>
</figure>
<indexterm id='idxbooksthreetypesofusesof' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
acts do not make a copy.
</para>
<figure id="fig-1531">
-<title>Examples of unregulated uses of a book.</title>
+<title></title>
<graphic fileref="images/1531.png" align="center" width="40%"></graphic>
</figure>
<para>
is therefore regulated by copyright law. Indeed, this particular use stands
at the core of this circle of possible uses of a copyrighted work. It is the
paradigmatic use properly regulated by copyright regulation (see
-diagram in <xref linkend="fig-1541"/>).
+diagram in figure <xref xrefstyle="template:%n" linkend="fig-1541"/>).
</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>Republishing stands at the core of this circle of possible uses of a copyrighted work.</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>
for public policy (and possibly First Amendment) reasons.
</para>
<figure id="fig-1542">
-<title>Unregulated copying considered <quote>fair uses.</quote></title>
+<title></title>
<graphic fileref="images/1542.svg" align="center" width="40%"></graphic>
</figure>
-<para> </para>
-<figure id="fig-1551">
-<title>Uses that before were presumptively unregulated are now presumptively regulated.</title>
-<graphic fileref="images/1551.svg" align="center" width="40%"></graphic>
-</figure>
<indexterm id='idxcopyrightusagerestrictionsattachedto' class='startofrange'><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>
<para>
<!-- PAGE BREAK 154 -->
fifth time, you are making a copy of the book contrary to the
copyright owner's wish.
</para>
+<figure id="fig-1551">
+<title></title>
+<graphic fileref="images/1551.svg" align="center" width="40%"></graphic>
+</figure>
<para>
There are some people who think this makes perfect sense. My aim
just now is not to argue about whether it makes sense or not. My aim
(including Warner Brothers) enjoyed.
</para>
<indexterm id='idxbooksoninternet2' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxinternetbookson3' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>
<para>
On the Internet, however, there is no check on silly rules, because on
the Internet, increasingly, rules are enforced not by a human but by a
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 <xref linkend="fig-example-adobe-ebook-reader"/> is a picture of an old version of my
-Adobe eBook Reader.
+In figure
+<xref xrefstyle="template:%n" linkend="fig-example-adobe-ebook-reader"/>
+is a picture of an old version of my Adobe eBook Reader.
</para>
<para>
As you can see, I have a small collection of e-books within this
<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>Picture of an old version of Adobe eBook Reader</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-1612">
-<title>List of the permissions that the publisher purports to grant.</title>
+<title></title>
<graphic fileref="images/1612.png" align="center" width="50%"></graphic>
</figure>
<para>
translation): Aristotle's <citetitle>Politics</citetitle>.
</para>
<figure id="fig-1621">
-<title>E-book of Aristotle's <quote>Politics</quote></title>
-<graphic fileref="images/1621.png" align="center" width="50%"></graphic>
+<title></title>
+<graphic fileref="images/aristotele-ebook.png" align="center" width="50%"></graphic>
</figure>
<para>
According to its permissions, no printing or copying is permitted
the book.
</para>
<figure id="fig-1622">
-<title>List of the permissions for Aristotle's <quote>Politics</quote>.</title>
+<title></title>
<graphic fileref="images/1622.png" align="center" width="50%"></graphic>
</figure>
<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
</para>
<!-- PAGE BREAK 162 -->
<figure id="fig-1631">
-<title>List of the permissions for <quote>The Future of Ideas</quote>.</title>
+<title></title>
<graphic fileref="images/1631.png" align="center" width="50%"></graphic>
</figure>
<para>
obligation) would come from the contract, not from copyright law, and
the obligations of contract would not necessarily pass to anyone who
subsequently acquired the book.
+<indexterm><primary>contracts</primary></indexterm>
</para></footnote>
When my e-book of <citetitle>Middlemarch</citetitle> says I have the
permission to copy only ten text selections into the memory every ten
following report:
</para>
<figure id="fig-1641">
-<title>List of the permissions for <quote>Alice's Adventures in
-Wonderland</quote>.</title>
+<title></title>
<graphic fileref="images/1641.png" align="center" width="50%"></graphic>
</figure>
<!-- PAGE BREAK 164-->
often crazy.
</para>
<indexterm startref='idxadobeebookreader' class='endofrange'/>
+<indexterm startref='idxinternetbookson3' class='endofrange'/>
<indexterm startref='idxbooksoninternet2' class='endofrange'/>
<para>
To see the point in a particularly absurd context, consider a favorite
the VCR responsible.
</para>
<para>
-This led Conrad to draw the cartoon in
-<xref linkend="fig-1711-vcr-handgun-cartoonfig"/>, which we can adopt
-to the DMCA.
+This led Conrad to draw the cartoon in figure
+<xref xrefstyle="template:%n"
+linkend="fig-1711-vcr-handgun-cartoonfig"/>, which we can adopt to the
+DMCA.
<indexterm><primary>Conrad, Paul</primary></indexterm>
</para>
<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="55%"></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>VCR/handgun cartoon.</title>
-<graphic fileref="images/1711.png" align="center" width="70%"></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
the nation's radio advertising revenues.
</para>
<indexterm><primary>cable television</primary></indexterm>
+<indexterm id='idxnewspapersownershipconsolidationof' class='startofrange'><primary>newspapers</primary><secondary>ownership consolidation of</secondary></indexterm>
<para>
Newspaper ownership is becoming more concentrated as well. Today,
there are six hundred fewer daily newspapers in the United States than
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxnewspapersownershipconsolidationof' class='endofrange'/>
+<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
pattern better than a thousand words could do:
</para>
<figure id="fig-1761-pattern-modern-media-ownership">
-<title>Pattern of modern media ownership.</title>
-<graphic fileref="images/pattern-modern-media-ownership.png" align="center" width="90%"></graphic>
+<title></title>
+<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
</chapter>
</part>
<part id="c-puzzles">
-<title>PUZZLES</title>
+<title>Puzzles</title>
<!-- PAGE BREAK 186 -->
<chapter label="11" id="chimera">
-<title>Chimera</title>
+<title>Chapter Eleven: Chimera</title>
<indexterm id='idxchimera' class='startofrange'><primary>chimeras</primary></indexterm>
<indexterm id='idxwells' class='startofrange'><primary>Wells, H. G.</primary></indexterm>
<indexterm id='idxtcotb' class='startofrange'><primary><quote>Country of the Blind, The</quote> (Wells)</primary></indexterm>
<quote>blind.</quote> They don't have the word <citetitle>blind</citetitle>. They think he's just thick.
Indeed, as they increasingly notice the things he can't do (hear the
sound of grass being stepped on, for example), they increasingly try
-to control him. He, in turn, becomes increasingly frustrated. <quote>`You
-don't understand,' he cried, in a voice that was meant to be great and
-resolute, and which broke. `You are blind and I can see. Leave me
-alone!'</quote>
+to control him. He, in turn, becomes increasingly frustrated. <quote><quote>You
+don't understand,</quote> he cried, in a voice that was meant to be great and
+resolute, and which broke. <quote>You are blind and I can see. Leave me
+alone!</quote></quote>
</para>
<para>
<!-- PAGE BREAK 187 -->
<!-- PAGE BREAK 192 -->
</chapter>
<chapter label="12" id="harms">
-<title>Harms</title>
+<title>Chapter Twelve: Harms</title>
<para>
<emphasis role='strong'>To fight</emphasis> <quote>piracy,</quote> to
protect <quote>property,</quote> the content industry has launched a
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,'
+an overview, see Tanya Albert, <quote>Measure Stalls in Senate: <quote>We'll Be Back,</quote>
Say Tort Reformers,</quote> amednews.com, 28 July 2003, available at
<ulink url="http://free-culture.cc/notes/">link #38</ulink>,
and <quote>Senate Turns Back Malpractice Caps,</quote> CBSNews.com, 9 July 2003,
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
See Frank Ahrens, <quote>RIAA's Lawsuits Meet Surprised Targets; Single
Mother in Calif., 12-Year-Old Girl in N.Y. Among Defendants,</quote>
<citetitle>Washington Post</citetitle>, 10 September 2003, E1; Chris Cobbs, <quote>Worried Parents
-Pull Plug on File `Stealing'; With the Music Industry Cracking Down on
+Pull Plug on File <quote>Stealing</quote>; With the Music Industry Cracking Down on
File Swapping, Parents are Yanking Software from Home PCs to Avoid
Being Sued,</quote> <citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; Jefferson
Graham, <quote>Recording Industry Sues Parents,</quote> <citetitle>USA Today</citetitle>, 15 September
</para></footnote>
</para>
+<indexterm id='idxnapsterrecordingindustrytrackingusersof' class='startofrange'><primary>Napster</primary><secondary>recording industry tracking users of</secondary></indexterm>
<para>
Even this understates the espionage that is being waged by the
RIAA. A report from CNN late last summer described a strategy the
<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank Ahrens, <quote>Four
Students Sued over Music Sites; Industry Group Targets File Sharing at
Colleges,</quote> <citetitle>Washington Post</citetitle>, 4 April 2003, E1; Elizabeth Armstrong,
-<quote>Students `Rip, Mix, Burn' at Their Own Risk,</quote> <citetitle>Christian Science
+<quote>Students <quote>Rip, Mix, Burn</quote> at Their Own Risk,</quote> <citetitle>Christian Science
Monitor</citetitle>, 2 September 2003, 20; Robert Becker and Angela Rozas, <quote>Music
Pirate Hunt Turns to Loyola; Two Students Names Are Handed Over;
Lawsuit Possible,</quote> <citetitle>Chicago Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, <quote>RIAA
the middle of wars of prohibition. This war is no different.
Says von Lohmann,
</para>
+<indexterm startref='idxnapsterrecordingindustrytrackingusersof' class='endofrange'/>
<blockquote>
<para>
So when we're talking about numbers like forty to sixty million
</chapter>
</part>
<part id="c-balances">
-<title>BALANCES</title>
+<title>Balances</title>
<partintro>
<!-- PAGE BREAK 218 -->
<!-- PAGE BREAK 220 -->
<chapter label="13" id="eldred">
-<title>Eldred</title>
+<title>Chapter Thirteen: Eldred</title>
<indexterm id='idxeldrederic' class='startofrange'><primary>Eldred, Eric</primary></indexterm>
<indexterm id='idxhawthornenathaniel' class='startofrange'><primary>Hawthorne, Nathaniel</primary></indexterm>
<para>
<!-- 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>
<quote>Well,</quote> the adviser says, <quote>if you're confident that you will continue
to get at least $100,000 a year from these copyrights, and you use the
-`discount rate' that we use to evaluate estate investments (6 percent),
+<quote>discount rate</quote> that we use to evaluate estate investments (6 percent),
then this law would be worth $1,146,000 to the estate.</quote>
</para>
<para>
<para>
<quote>Absolutely,</quote> the adviser responds. <quote>It is worth it to you to
contribute
-up to the `present value' of the income you expect from these
+up to the <quote>present value</quote> of the income you expect from these
copyrights. Which for us means over $1,000,000.</quote>
</para>
<para>
decision in 1995 to strike down a law that banned the possession of
guns near schools.
</para>
+<indexterm id='idxcommerceinterstate' class='startofrange'><primary>commerce, interstate</primary></indexterm>
+<indexterm id='idxcongressusconstitutionalpowersof2' class='startofrange'><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm id='idxinterstatecommerce' class='startofrange'><primary>interstate commerce</primary></indexterm>
<para>
Since 1937, the Supreme Court had interpreted Congress's granted
powers very broadly; so, while the Constitution grants Congress the
instead interpreted to impose no limit.
</para>
<indexterm><primary>Rehnquist, William H.</primary></indexterm>
+<indexterm id='idxunitedstatesvlopez' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
The Supreme Court, under Chief Justice Rehnquist's command, changed
that in <citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The government had
later in <citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>.<footnote><para>
<!-- f7. -->
<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 U.S. 598 (2000).
+<indexterm><primary>United States v. Morrison</primary></indexterm>
</para></footnote>
</para>
+<indexterm startref='idxcommerceinterstate' class='endofrange'/>
+<indexterm startref='idxunitedstatesvlopez' class='endofrange'/>
<para>
If a principle were at work here, then it should apply to the Progress
Clause as much as the Commerce Clause.<footnote><para>
copyrights should entail that Congress is not allowed to extend the
term of existing copyrights.
</para>
+<indexterm startref='idxinterstatecommerce' class='endofrange'/>
+<indexterm id='idxcongressussupremecourtrestrainton2' class='startofrange'><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
<para>
<emphasis>If</emphasis>, that is, the principle announced in <citetitle>Lopez</citetitle>
stood for a principle. Many believed the decision in <citetitle>Lopez</citetitle> stood for
devote my life to teaching constitutional law if these nine Justices
were going to be petty politicians.
</para>
+<indexterm startref='idxcongressusconstitutionalpowersof2' class='endofrange'/>
<indexterm><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
not expired, and will not expire, so long as Congress is free to be
bought to extend them again.
</para>
+<indexterm startref='idxcongressussupremecourtrestrainton2' class='endofrange'/>
+
<para>
<emphasis role='strong'>It is valuable</emphasis> copyrights that are
responsible for terms being extended. Mickey Mouse and
</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
commercial market, if access is a value, then 6 percent is a failure
to provide that value.<footnote><para>
<!-- f13. -->
-Jason Schultz, <quote>The Myth of the 1976 Copyright `Chaos' Theory,</quote> 20
-December 2002, available at
+Jason Schultz, <quote>The Myth of the 1976 Copyright
+<quote>Chaos</quote> Theory,</quote> 20 December 2002, available at
<ulink url="http://free-culture.cc/notes/">link #54</ulink>.
</para></footnote>
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
was little I did beyond preparing for this case. Early on, as I said,
I set the strategy.
</para>
+<indexterm><primary>Kennedy, Anthony</primary></indexterm>
+<indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
<indexterm><primary>Rehnquist, William H.</primary></indexterm>
<indexterm><primary>O'Connor, Sandra Day</primary></indexterm>
+<indexterm><primary>Thomas, Clarence</primary></indexterm>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>United States v. Morrison</primary></indexterm>
+<indexterm><primary>Scalia, Antonin</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>Supreme Court restraint on</secondary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>congressional actions restrained by</secondary></indexterm>
+<indexterm id='idxsupremecourtusfactionsof' class='startofrange'><primary>Supreme Court, U.S.</primary><secondary>factions of</secondary></indexterm>
<para>
The Supreme Court was divided into two important camps. One camp we
called <quote>the Conservatives.</quote> The other we called <quote>the Rest.</quote> The
believed, there was a very important free speech argument against
these retrospective extensions.
</para>
+<indexterm startref='idxsupremecourtusfactionsof' class='endofrange'/>
<indexterm startref='idxginsburg' class='endofrange'/>
<para>
The only vote we could be confident about was that of Justice
that Congress's power must be interpreted so that its enumerated
powers have limits.
</para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
+<indexterm><primary>commerce, interstate</primary></indexterm>
+<indexterm><primary>interstate commerce</primary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>in constitutional Progress Clause</secondary></indexterm>
+<indexterm><primary>Progress Clause</primary></indexterm>
+<indexterm id='idxcongressuscopyrighttermsextendedby5' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
<para>
This then was the core of our strategy—a strategy for which I am
responsible. We would get the Court to see that just as with the
copyrights. So, the government argued, the Court should not now say
that practice is unconstitutional.
</para>
+<indexterm startref='idxcongressuscopyrighttermsextendedby5' class='endofrange'/>
<para>
There was some truth to the government's claim, but not much. We
certainly agreed that Congress had extended existing terms in 1831
<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
here was the place Don Ayer's advice should have mattered. This was a
softball; my answer was a swing and a miss.
</para>
+<indexterm><primary>United States v. Lopez</primary></indexterm>
<para>
The second came from the Chief, for whom the whole case had been
crafted. For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling,
was the last naïve law professor, scouring the pages, looking for
reasoning.
</para>
+<indexterm id='idxunitedstatesvlopez2' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
I first scoured the opinion, looking for how the Court would
distinguish the principle in this case from the principle in
followed from the <citetitle>Lopez</citetitle> case: In that context, Congress's power would
be limited, but in this context it would not.
</para>
+<indexterm startref='idxunitedstatesvlopez2' class='endofrange'/>
<para>
Yet by what right did they get to choose which of the framers' values
they would respect? By what right did they—the silent
<quote>limited,</quote> and the existing term was so long as to be effectively
unlimited, then it was unconstitutional.
</para>
+<indexterm id='idxunitedstatesvlopez3' class='startofrange'><primary>United States v. Lopez</primary></indexterm>
<para>
These two justices understood all the arguments we had made. But
because neither believed in the <citetitle>Lopez</citetitle> case, neither was willing to push
<citetitle>Lopez</citetitle> and many other <quote>originalist</quote> rulings. Where was their
<quote>originalism</quote> now?
</para>
+<indexterm startref='idxunitedstatesvlopez3' class='endofrange'/>
<para>
Here, they had joined an opinion that never once tried to explain
what the framers had meant by crafting the Progress Clause as they
<para>
The best responses were in the cartoons. There was a gaggle of
hilarious images—of Mickey in jail and the like. The best, from
-my view of the case, was Ruben Bolling's, reproduced in
-<xref linkend="fig-18"/>. The <quote>powerful and wealthy</quote> line is a bit
-unfair. But the punch in the face felt exactly like that.
+my view of the case, was Ruben Bolling's, reproduced in figure
+<xref xrefstyle="template:%n" linkend="fig-18"/>. The <quote>powerful
+and wealthy</quote> line is a bit unfair. But the punch in the face
+felt exactly like that.
<indexterm><primary>Bolling, Ruben</primary></indexterm>
</para>
<figure id="fig-18" float="1">
-<title>Tom the Dancing Bug cartoon</title>
+<title></title>
<graphic fileref="images/tom-the-dancing-bug.png" align="center" width="100%"></graphic>
<indexterm><primary>Bolling, Ruben</primary></indexterm>
</figure>
<!-- PAGE BREAK 254 -->
</chapter>
<chapter label="14" id="eldred-ii">
-<title>Eldred II</title>
+<title>Chapter Fourteen: Eldred II</title>
<para>
<emphasis role='strong'>The day</emphasis>
<citetitle>Eldred</citetitle> was decided, fate would have it that I
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
<!-- PAGE BREAK 264 -->
</chapter>
</part>
-<chapter label="15" id="c-conclusion">
-<title>CONCLUSION</title>
+<chapter label="" id="c-conclusion">
+<title>Conclusion</title>
<indexterm id='idxafricamedicationsforhivpatientsin' class='startofrange'><primary>Africa, medications for HIV patients in</primary></indexterm>
<indexterm id='idxaidsmedications' class='startofrange'><primary>AIDS medications</primary></indexterm>
<indexterm id='idxantiretroviraldrugs' class='startofrange'><primary>antiretroviral drugs</primary></indexterm>
<!-- f6. --> Jonathan Krim, <quote>The Quiet War over Open-Source,</quote> <citetitle>Washington Post</citetitle>,
August 2003, E1, available at
<ulink url="http://free-culture.cc/notes/">link #59</ulink>; William New, <quote>Global Group's
-Shift on `Open Source' Meeting Spurs Stir,</quote> <citetitle>National Journal's Technology
+Shift on <quote>Open Source</quote> Meeting Spurs Stir,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #60</ulink>; William New, <quote>U.S. Official
-Opposes `Open Source' Talks at WIPO,</quote> <citetitle>National Journal's Technology
+Opposes <quote>Open Source</quote> Talks at WIPO,</quote> <citetitle>National Journal's Technology
Daily</citetitle>, 19 August 2003, available at
<ulink url="http://free-culture.cc/notes/">link #61</ulink>.
</para></footnote>
</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>
</para>
</chapter>
-<chapter label="16" id="c-afterword">
-<title>AFTERWORD</title>
+<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
<!-- PAGE BREAK 281 -->
<section id="usnow">
-<title>US, NOW</title>
+<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
</section>
</section>
<section id="themsoon">
-<title>THEM, SOON</title>
+<title>Them, soon</title>
<para>
<emphasis role='strong'>We will</emphasis> not reclaim a free culture
by individual action alone. It will also take important reforms of
<!-- PAGE BREAK 294 -->
<section id="registration">
-<title>REGISTRATION AND RENEWAL</title>
+<title>Registration and renewal</title>
<para>
Under the old system, a copyright owner had to file a registration
with the Copyright Office to register or renew a copyright. When
role. Instead, we should be creating incentives for private parties to
serve the public, subject to standards that the government sets.
</para>
+<indexterm><primary>domain names</primary></indexterm>
+<indexterm><primary>Internet</primary><secondary>domain name registration on</secondary></indexterm>
+<indexterm><primary>Web sites, domain name registration of</primary></indexterm>
<para>
In the context of registration, one obvious model is the Internet.
There are at least 32 million Web sites registered around the world.
</section>
<section id="marking">
-<title>MARKING</title>
+<title>Marking</title>
<para>
It used to be that the failure to include a copyright notice on a
creative work meant that the copyright was forfeited. That was a harsh
</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
</section>
</section>
</chapter>
-<chapter label="17" id="c-notes">
-<title>NOTES</title>
+<chapter label="" id="c-notes">
+<title>Notes</title>
<para>
Throughout this text, there are references to links on the World Wide
Web. As anyone who has tried to use the Web knows, these links can be
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-->
</chapter>
-<chapter label="18" id="c-acknowledgments">
-<title>ACKNOWLEDGMENTS</title>
+<chapter label="" id="c-acknowledgments">
+<title>Acknowledgments</title>
<para>
This book is the product of a long and as yet unsuccessful struggle that
began when I read of Eric Eldred's war to keep books free. Eldred's
</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 ?>
+<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>
-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>
+<ulink url="http://free-culture.cc/"/>
</para>
+
<para>
-This digital book was published by Petter Reinholdtsen in 2015. The
-original hardcover paper book was published in 2004 by The Penguin
-Press.
+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>
+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
with permission.
</para>
<para>
-Cartoon in <xref linkend="fig-1711-vcr-handgun-cartoonfig"/> by Paul
-Conrad, copyright Tribune Media Services, Inc. All rights
+Cartoon in figure
+<xref xrefstyle="template:%n" linkend="fig-1711-vcr-handgun-cartoonfig"/> by
+Paul Conrad, copyright Tribune Media Services, Inc. All rights
reserved. Reprinted with permission.
</para>
<para>
-Diagram in <xref linkend="fig-1761-pattern-modern-media-ownership"/>
+Diagram in figure
+<xref xrefstyle="template:%n" linkend="fig-1761-pattern-modern-media-ownership"/>
courtesy of the office of FCC Commissioner, Michael J. Copps.
</para>
<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
-<ulink url="https://github.com/petterreinholdtsen/free-culture-lessig"/>.
+Cover created by Petter Reinholdtsen using inkscape.
</para>
<para>
-&translationblock;
+The quotes on the cover came from
+<ulink url="http://free-culture.cc/jacket/"/>.
</para>
<para>
-Includes index.
+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>
+<para>
+Thomas Gramstad Forlag donated the ISBN numbers.
+</para>
+
+<para>
+Printing was sponsed by NUUG Foundation,
+<ulink url="http://www.nuugfoundation.no/"/>.
+</para>
+
+<para>
+Includes index.
+</para>
+
+<?latex } %\centering
+?>
+
+<para>
+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>
+ <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>
<informaltable id="isbn">
<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>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>978-82-92812-XX-Y</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