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+ <!ENTITY ndash "–">
+ <!ENTITY mdash "—">
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+ <!ENTITY iuml "ï">
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<book id="index" lang="en">
<subtitle>How big media uses technology and the law to lock down
culture and control creativity</subtitle>
- <pubdate>2015-09-04</pubdate>
+ <pubdate>2015-10-17</pubdate>
<edition>1</edition>
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- <biblioid class="isbn">978-82-8067-010-6</biblioid>
+ <biblioid class="isbn">978-82-690182-0-2</biblioid>
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-<dedication><title></title>
+<dedication id='dedication'><title></title>
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-<?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 } % \Huge \centering
+<?latex } % \huge \centering
?>
</dedication>
publication, but also a privacy interest. By granting authors the exclusive
right to first publication, state copyright law gave authors the power to
control the spread of facts about them. See Samuel D. Warren and Louis
-D. Brandeis, <quote>The Right to Privacy,</quote> Harvard Law Review 4 (1890): 193,
-198–200.
+D. Brandeis, <quote>The Right to Privacy,</quote> <citetitle>Harvard
+Law Review</citetitle> 4 (1890): 193, 198–200.
<indexterm><primary>Brandeis, Louis D.</primary></indexterm>
</para></footnote>
This is also, of course, an important part of creativity and culture,
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
broke back into the mainstream press. In the end, Lott was forced to
resign as senate majority leader.<footnote><para>
<!-- f18 -->
-Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</quote> New
-York Times, 16 January 2003, G5.
+Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the
+Pot,</quote> <citetitle>New York Times</citetitle>, 16 January 2003, G5.
</para></footnote>
</para>
<indexterm id='idxmediacommercialimperativesof' class='startofrange'><primary>media</primary><secondary>commercial imperatives of</secondary></indexterm>
</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>.
</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>
</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>
<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
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
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:
</para>
<figure id="fig-1331">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="10em"></graphic>
</figure>
<indexterm><primary>Madonna</primary></indexterm>
<para>
<indexterm startref='idxspeedingconstraintson' class='endofrange'/>
<figure id="fig-1361">
<title></title>
-<graphic fileref="images/1361.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1361.svg" align="center" width="12em"></graphic>
</figure>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
</para>
<figure id="fig-1371">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="10em"></graphic>
</figure>
<indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
</para>
<figure id="fig-1381">
<title></title>
-<graphic fileref="images/1381.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1381.svg" align="center" width="10em"></graphic>
</figure>
<indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
</para>
<figure id="fig-1441">
<title></title>
-<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1331.svg" align="center" width="10em"></graphic>
</figure>
<para>
We will end here:
</para>
<figure id="fig-1442">
<title></title>
-<graphic fileref="images/1442.svg" align="center" width="45%"></graphic>
+<graphic fileref="images/1442.svg" align="center" width="10em"></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
</para>
<figure id="fig-1521">
<title></title>
-<graphic fileref="images/1521.svg" align="center" width="40%"></graphic>
+<graphic fileref="images/1521.svg" align="center" width="10em"></graphic>
</figure>
<indexterm id='idxbooksthreetypesofusesof' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
<indexterm id='idxcopyrightlawcopiesascoreissueof2' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
</para>
<figure id="fig-1531">
<title></title>
-<graphic fileref="images/1531.png" align="center" width="40%"></graphic>
+<graphic fileref="images/1531.png" align="center" width="10em"></graphic>
</figure>
<para>
Obviously, however, some uses of a copyrighted book are regulated
<indexterm startref='idxpiracyderivativeworkvs4' class='endofrange'/>
<figure id="fig-1541">
<title></title>
-<graphic fileref="images/1541.svg" align="center" width="40%"></graphic>
+<graphic fileref="images/1541.svg" align="center" width="10em"></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>
<figure id="fig-1542">
<title></title>
-<graphic fileref="images/1542.svg" align="center" width="40%"></graphic>
+<graphic fileref="images/1542.svg" align="center" width="10em"></graphic>
</figure>
<indexterm id='idxcopyrightusagerestrictionsattachedto' class='startofrange'><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>
<para>
</para>
<figure id="fig-1551">
<title></title>
-<graphic fileref="images/1551.svg" align="center" width="40%"></graphic>
+<graphic fileref="images/1551.svg" align="center" width="10em"></graphic>
</figure>
<para>
There are some people who think this makes perfect sense. 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
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
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
<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 -->
<!-- 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,
enough to start a company. It is impossibly hard if that company is
constantly threatened by litigation.
</para>
+<indexterm id='idxmarketconstraints3' class='startofrange'><primary>market constraints</primary></indexterm>
+<indexterm id='idxpermissionculturetransactioncostof' class='startofrange'><primary>permission culture</primary><secondary>transaction cost of</secondary></indexterm>
+<indexterm><primary>regulation</primary><secondary>outsize penalties of</secondary></indexterm>
+<indexterm><primary>technology</primary><secondary>legal murkiness on</secondary></indexterm>
<para>
<!-- PAGE BREAK 201 -->
unlimited liability, we will have much less vibrant innovation and
much less creativity.
</para>
-<indexterm><primary>market constraints</primary></indexterm>
<para>
The point is directly parallel to the crunchy-lefty point about fair
use. Whatever the <quote>real</quote> law is, realism about the effect of law in
creativity. Someone needs to do a lot of justifying to justify that
result.
</para>
+<indexterm startref='idxmarketconstraints3' class='endofrange'/>
+<indexterm startref='idxpermissionculturetransactioncostof' class='endofrange'/>
<para>
<emphasis role='strong'>The uncertainty</emphasis> of the law is one
burden on innovation. There is a second burden that operates more
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
<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
<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>
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>/
+<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
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>
overstepped its bounds.
</para>
<para>
-It was here that most expected Eldred v. Ashcroft would die, for the
-Supreme Court rarely reviews any decision by a court of appeals. (It
-hears about one hundred cases a year, out of more than five thousand
-appeals.) And it practically never reviews a decision that upholds a
-statute when no other court has yet reviewed the statute.
+It was here that most expected <citetitle>Eldred</citetitle>
+v. <citetitle>Ashcroft</citetitle> would die, for the Supreme Court
+rarely reviews any decision by a court of appeals. (It hears about one
+hundred cases a year, out of more than five thousand appeals.) And it
+practically never reviews a decision that upholds a statute when no
+other court has yet reviewed the statute.
</para>
<para>
But in February 2002, the Supreme Court surprised the world by
<!-- 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>
</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>
+<xi:include href="freeculture-about-edition-en.xml" xmlns:xi="http://www.w3.org/2001/XInclude">
+ <xi:fallback/>
+</xi:include>
- <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>
<title></title>
</para>
<para>
-Published in English and Norwegian Bokmål 2015 by Petter Reinholdtsen
-with help from many volunteers. Typeset with dblatex using the font
-Crimson Text.
+Published in 2015. First published 2004 by The Penguin Press.
+</para>
+
+<para>
+This English and Norwegian Bokmål edition was published by Petter
+Reinholdtsen with help from many volunteers.
</para>
<para>
-First published 2004 by The Penguin Press.
+Typeset with
+<ulink url="http://dblatex.sourceforge.net">dblatex</ulink> using the
+font Crimson Text.
</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/"/>.
<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">
<tbody>
<row>
<entry>US Trade edition from lulu.com</entry>
- <entry>978-82-8067-010-6</entry>
+ <entry>978-82-690182-0-2</entry>
</row>
<row>
<entry>application/pdf</entry>
- <entry>978-82-8067-011-3</entry>
+ <entry>978-82-690182-1-9</entry>
</row>
<row>
<entry>application/epub+zip</entry>
- <entry>978-82-8067-012-0</entry>
- </row>
- <row>
- <entry>application/x-mobipocket-ebook</entry>
- <entry>978-82-8067-013-7</entry>
+ <entry>978-82-690182-2-6</entry>
</row>
</tbody>
</tgroup>
projects / text-free-culture-lessig.git / blobdiff