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+ by Petter Reinholdtsen 2012-2015 with input from Martin Borg. -->
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- <!ENTITY translationblock "">
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+
<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>
<firstname>Lawrence</firstname>
<surname>Lessig</surname>
</author>
+<!--
+ Keep these out to avoid showing up as author in the PDF.
+
+ <editor>
+ <firstname>Petter</firstname>
+ <surname>Reinholdtsen</surname>
+ </editor>
+
+ <othercredit role='converter'>
+ <firstname>Petter</firstname>
+ <surname>Reinholdtsen</surname>
+ <contrib>Created this Docbook version from an earlier version</contrib>
+ </othercredit>
+-->
</authorgroup>
<!-- <subjectset> and cover <mediaobject> Based on example from
<publisher>
- <publishername>The Penguin Press</publishername>
- <address><city>New York</city></address>
+ <publishername>Petter Reinholdtsen</publishername>
+ <address><city>Oslo</city></address>
</publisher>
<copyright>
</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 -->
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- <imagedata fileref="images/cover.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-72dpi.png" format="PNG" width="444" />
</imageobject>
-<!--
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+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
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- <imagedata fileref="images/cover_thumbnail.png" format="PNG" width="444" />
+ <imagedata fileref="images/cover-front-10dpi.png" format="PNG" width="444" />
</imageobject>
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- <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">1-59420-006-8</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 1-->
-<dedication id="salespoints">
-<title></title>
-<para>
-You can buy a copy of this book by clicking on one of the links below:
-</para>
-<itemizedlist mark="number" spacing="compact">
-<listitem><para><ulink url="http://www.amazon.com/">Amazon</ulink></para></listitem>
-<listitem><para><ulink url="http://www.barnesandnoble.com/">B&N</ulink></para></listitem>
-<listitem><para><ulink url="http://www.penguin.com/">Penguin</ulink></para></listitem>
-<!-- <ulink url="">Local Bookstore</ulink> -->
-</itemizedlist>
-</dedication>
-<!-- PAGE BREAK 2 -->
<!-- PAGE BREAK 3 -->
<dedication id="alsobylessig">
-<title></title>
-<para>
-ALSO BY LAWRENCE LESSIG
-</para>
-<para>
-The Future of Ideas: The Fate of the Commons in a Connected World
-</para>
-<para>
-Code: And Other Laws of Cyberspace
-</para>
+<title>
+Also by Lawrence Lessig
+</title>
+
+<itemizedlist>
+
+<listitem><para>
+The USA is lesterland: The nature of congressional corruption (2014)
+</para></listitem>
+<listitem><para>
+Republic, lost: How money corrupts Congress - and a plan to stop it (2011)
+</para></listitem>
+<listitem><para>
+Remix: Making art and commerce thrive in the hybrid economy (2008)
+</para></listitem>
+<listitem><para>
+Code: Version 2.0 (2006)
+</para></listitem>
+<listitem><para>
+The Future of Ideas: The Fate of the Commons in a Connected World (2001)
+</para></listitem>
+<listitem><para>
+Code: And Other Laws of Cyberspace (1999)
+</para></listitem>
+</itemizedlist>
</dedication>
<!-- PAGE BREAK 4 -->
<!-- PAGE BREAK 5 -->
<!-- PAGE BREAK 6 -->
-<colophon>
-<para>
-THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street New
-York, New York
-</para>
-<para>
-Copyright © Lawrence Lessig. All rights reserved.
-</para>
-<para>
-Excerpt from an editorial titled <quote>The Coming of Copyright Perpetuity,</quote>
-<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright
-© 2003 by The New York Times Co. Reprinted with permission.
-</para>
-<para>
-Cartoon in <xref 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"/> courtesy of the office of FCC
-Commissioner, Michael J. Copps.
-</para>
-<para>
-Library of Congress Cataloging-in-Publication Data
-</para>
-<para>
-Lessig, Lawrence.
-Free culture : how big media uses technology and the law to lock down
-culture and control creativity / Lawrence Lessig.
-</para>
-<para>
-p. cm.
-</para>
-<para>
-Includes index.
-</para>
-<para>
-ISBN 1-59420-006-8 (hardcover)
-</para>
-
-<para>
-1. Intellectual property—United States. 2. Mass media—United States.
-</para>
-<para>
-3. Technological innovations—United States. 4. Art—United States. I. Title.
-</para>
-<para>
-KF2979.L47
-</para>
-<para>
-343.7309'9—dc22
-</para>
-<para>
-This book is printed on acid-free paper.
-</para>
-<para>
-Printed in the United States of America
-</para>
-<para>
-1 3 5 7 9 10 8 6 4
-</para>
-<para>
-Designed by Marysarah Quinn
-</para>
-
-<para>
-&translationblock;
-</para>
-
-<para>
-Without limiting the rights under copyright reserved above, no part of
-this publication may be reproduced, stored in or introduced into a
-retrieval system, or transmitted, in any form or by any means
-(electronic, mechanical, photocopying, recording or otherwise),
-without the prior written permission of both the copyright owner and
-the above publisher of this book.
-</para>
-<para>
-The scanning, uploading, and distribution of this book via the
-Internet or via any other means without the permission of the
-publisher is illegal and punishable by law. Please purchase only
-authorized electronic editions and do not participate in or encourage
-electronic piracy of copyrighted materials. Your support of the
-author's rights is appreciated.
-</para>
-</colophon>
-
<!-- PAGE BREAK 7 -->
<dedication><title></title>
+<!-- FIXME figure out how to do this better in dblatex and docbook-xsl -->
+<?latex {\Huge \centering
+?>
<para>
-To Eric Eldred—whose work first drew me to this cause, and for whom
+To Eric Eldred — whose work first drew me to this cause, and for whom
it continues still.
</para>
+<?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='idxfmradio' class='endofrange'/>
<indexterm startref='idxarmstrongedwinhoward' class='endofrange'/>
+<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
+<indexterm><primary>Causby, Tinie</primary></indexterm>
<para>
This is how the law sometimes works. Not often this tragically, and
rarely with heroic drama, but sometimes, this is how it works. From
</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>
stories, reenacting scenes from plays or TV, participating in fan
clubs, sharing music, making tapes—were left alone by the law.
</para>
-<indexterm id='idxcopyrightinfringementlawsuitscommercialcreativityasprimarypurposeof' class='startofrange'><primary>Copyright infringement lawsuits</primary><secondary>commercial creativity as primary purpose of</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitscommercialcreativityasprimarypurposeof' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>commercial creativity as primary purpose of</secondary></indexterm>
<para>
The focus of the law was on commercial creativity. At first slightly,
then quite extensively, the law protected the incentives of creators by
culture, more and more a permission culture.
</para>
<!-- PAGE BREAK 24 -->
+<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
+<indexterm><primary>Causby, Tinie</primary></indexterm>
<indexterm><primary>protection of artists vs. business interests</primary></indexterm>
<para>
This change gets justified as necessary to protect commercial
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: Should "Is it" be "It is" ? -->
+<!-- PAGE BREAK 26. -->
<para>
-The story that follows is about this war. Is it not about the
+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,
digital or otherwise. Nor is it an effort to demonize any individual
or group, for neither do I believe in a devil, corporate or
</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>CHAPTER ONE: 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>
early days of comics in America are very much like what's going on
in Japan now. … American comics were born out of copying each
<!-- PAGE BREAK 40 -->
-other. … That's how [the artists] learn to draw—by going into comic
+other. … That's how [the artists] learn to draw — by going into comic
books and not tracing them, but looking at them and copying them</quote>
and building from them.<footnote><para>
<!-- f5 -->
Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</citetitle>, 11 (New York: New York
University Press, 2001). See also Lawrence Lessig, <citetitle>The Future of Ideas</citetitle>
(New York: Random House, 2001), 293 n. 26. The term accurately
-describes a set of <quote>property</quote> rights—copyright, patents,
-trademark, and trade-secret—but the nature of those rights is
+describes a set of <quote>property</quote> rights — copyright, patents,
+trademark, and trade-secret — but the nature of those rights is
very different.
</para></footnote>
A large, diverse society cannot survive without property; a large,
<!-- PAGE BREAK 44 -->
</chapter>
<chapter label="2" id="mere-copyists">
-<title>CHAPTER TWO: <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>
<indexterm startref='idxeastmangeorge' class='endofrange'/>
<indexterm startref='idxpermissionsphotographyexemptedfrom' class='endofrange'/>
<indexterm startref='idximagesownershipof' class='endofrange'/>
+<indexterm><primary>digital cameras</primary></indexterm>
+<indexterm id='idxjustthink' class='startofrange'><primary>Just Think!</primary></indexterm>
<para>
<emphasis role='strong'>If you drive</emphasis> through San
Francisco's Presidio, you might see two gaudy yellow school buses
something about media by doing something with media. By doing, they
think. By tinkering, they learn.
</para>
+<indexterm id='idxeducationinmedialiteracy' class='startofrange'><primary>education</primary><secondary>in media literacy</secondary></indexterm>
+<indexterm id='idxmedialiteracy' class='startofrange'><primary>media literacy</primary></indexterm>
+<indexterm id='idxexpressiontechnologiesofmedialiteracyand' class='startofrange'><primary>expression, technologies of</primary><secondary>media literacy and</secondary></indexterm>
<para>
These buses are not cheap, but the technology they carry is
increasingly so. The cost of a high-quality digital video system has
way media works, the way it's constructed, the way it's delivered, and
the way people access it.</quote>
</para>
+<indexterm startref='idxjustthink' class='endofrange'/>
<para>
This may seem like an odd way to think about <quote>literacy.</quote> For most
people, literacy is about reading and writing. Faulkner and Hemingway
reflecting upon what one has written. One learns to write with images
by making them and then reflecting upon what one has created.
</para>
-<indexterm><primary>Crichton, Michael</primary></indexterm>
<indexterm id='idxdaleyelizabeth' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>
+<indexterm><primary>Crichton, Michael</primary></indexterm>
<para>
This grammar has changed as media has changed. When it was just film,
as Elizabeth Daley, executive director of the University of Southern
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
this message depended upon its connection to this form of expression.
</para>
<indexterm startref='idxbarishstephanie' class='endofrange'/>
+<indexterm id='idxdaleyelizabeth2' class='startofrange'><primary>Daley, Elizabeth</primary></indexterm>
<para>
<!-- PAGE BREAK 52 -->
that you understand, that are your language, and construct meaning
about the topic.…
</para>
+<indexterm><primary>Barish, Stephanie</primary></indexterm>
<para>
That empowers enormously. And then what happens, of
course, is eventually, as it has happened in all these classes, they
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'/>
+<indexterm startref='idxexpressiontechnologiesofmedialiteracyand' class='endofrange'/>
+<indexterm startref='idxdaleyelizabeth2' class='endofrange'/>
<indexterm id='idxseptemberterroristattacksof' class='startofrange'><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
<indexterm><primary>World Trade Center</primary></indexterm>
<indexterm id='idxnewscoverage' class='startofrange'><primary>news coverage</primary></indexterm>
</para>
<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>
</para>
<indexterm><primary>Lott, Trent</primary></indexterm>
<indexterm><primary>Thurmond, Strom</primary></indexterm>
+<indexterm id='idxmediablogpressureon' class='startofrange'><primary>media</primary><secondary>blog pressure on</secondary></indexterm>
+<indexterm id='idxinternetnewseventson2' class='startofrange'><primary>Internet</primary><secondary>news events on</secondary></indexterm>
<para>
One direct effect is on stories that had a different life cycle in the
mainstream media. The Trent Lott affair is an example. When Lott
York Times, 16 January 2003, G5.
</para></footnote>
</para>
+<indexterm id='idxmediacommercialimperativesof' class='startofrange'><primary>media</primary><secondary>commercial imperatives of</secondary></indexterm>
<para>
This different cycle is possible because the same commercial pressures
don't exist with blogs as with other ventures. Television and
If they lose readers, they lose revenue. Like sharks, they must move
on.
</para>
+<indexterm startref='idxmediablogpressureon' class='endofrange'/>
+<indexterm><primary>Internet</primary><secondary>peer-generated rankings on</secondary></indexterm>
<para>
But bloggers don't have a similar constraint. They can obsess, they
can focus, they can get serious. If a particular blogger writes a
popular has been selected by a very democratic process of
peer-generated rankings.
</para>
+<indexterm startref='idxmediacommercialimperativesof' class='endofrange'/>
+<indexterm id='idxjournalism' class='startofrange'><primary>journalism</primary></indexterm>
<indexterm id='idxwinerdave' class='startofrange'><primary>Winer, Dave</primary></indexterm>
<para>
There's a second way, as well, in which blogs have a different cycle
get it out of the way.</quote>
</para>
<indexterm><primary>CNN</primary></indexterm>
+<indexterm><primary>media</primary><secondary>commercial imperatives of</secondary></indexterm>
<indexterm><primary>Iraq war</primary></indexterm>
+<indexterm><primary>media</primary><secondary>ownership concentration in</secondary></indexterm>
<para>
These conflicts become more important as media becomes more
concentrated (more on this below). A concentrated media can hide more
optimistic story. When she told New York that wasn't warranted, they
told her that <emphasis>they</emphasis> were writing <quote>the story.</quote>)
</para>
-<para> Blog space gives amateurs a way to enter the
-debate—<quote>amateur</quote> not in the sense of inexperienced, but in the
-sense of an Olympic athlete, meaning not paid by anyone to give their
-reports. It allows for a much broader range of input into a story, as
-reporting on the Columbia disaster revealed, when hundreds from across
-the southwest United States turned to the Internet to retell what they
-had seen.<footnote><para>
+<indexterm startref='idxinternetnewseventson2' class='endofrange'/>
+<para>
+Blog space gives amateurs a way to enter the
+debate—<quote>amateur</quote> not in the sense of inexperienced,
+but in the sense of an Olympic athlete, meaning not paid by anyone to
+give their reports. It allows for a much broader range of input into a
+story, as reporting on the Columbia disaster revealed, when hundreds
+from across the southwest United States turned to the Internet to
+retell what they had seen.<footnote><para>
<!-- f20 -->
John Schwartz, <quote>Loss of the Shuttle: The Internet; A Wealth of
Information Online,</quote> <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci
of the Internet (meaning infringing on copyright), Winer said, <quote>we will
be the last thing that gets shut down.</quote>
</para>
+<indexterm startref='idxjournalism' class='endofrange'/>
<para>
This speech affects democracy. Winer thinks that happens because <quote>you
don't have to work for somebody who controls, [for] a gatekeeper.</quote>
extraordinary to report.
</para>
<indexterm startref='idxnewscoverage' class='endofrange'/>
+<indexterm startref='idxinternetpublicdiscourseconductedon' class='endofrange'/>
<indexterm startref='idxpoliticaldiscourse' class='endofrange'/>
<indexterm startref='idxblogsweblogs2' class='endofrange'/>
<indexterm startref='idxinternetblogson2' class='endofrange'/>
<indexterm startref='idxweblogsblogs2' class='endofrange'/>
<indexterm startref='idxwinerdave' class='endofrange'/>
-<indexterm startref='idxinternetpublicdiscourseconductedon' class='endofrange'/>
<indexterm id='idxbrownjohnseely' class='startofrange'><primary>Brown, John Seely</primary></indexterm>
<indexterm id='idxadvertising1' class='startofrange'><primary>advertising</primary></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>CHAPTER THREE: 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>
+<indexterm id='idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof' class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary><secondary>computer network search engine of</secondary></indexterm>
+<indexterm id='idxsearchengines' class='startofrange'><primary>search engines</primary></indexterm>
+<indexterm id='idxuniversitycomputernetworksppsharingon' class='startofrange'><primary>university computer networks, p2p sharing on</primary></indexterm>
+<indexterm id='idxinternetsearchenginesusedon' class='startofrange'><primary>Internet</primary><secondary>search engines used on</secondary></indexterm>
<para>
<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan
of Oceanside, New York, enrolled as a freshman at Rensselaer
network is designed to enable students to get access to the Internet,
as well as more intimate access to other members of the RPI community.
</para>
+<indexterm id='idxgoogle' class='startofrange'><primary>Google</primary></indexterm>
<para>
Search engines are a measure of a network's intimacy. Google
<!-- PAGE BREAK 62 -->
time, enabling employees to have access to material that people
outside the business can't get. Universities do it as well.
</para>
+<indexterm id='idxjordanjesse' class='startofrange'><primary>Jordan, Jesse</primary></indexterm>
+<indexterm id='idxmicrosoftnetworkfilesystemof' class='startofrange'><primary>Microsoft</primary><secondary>network file system of</secondary></indexterm>
<para>
These engines are enabled by the network technology itself.
Microsoft, for example, has a network file system that makes it very
technology. It used Microsoft's network file system to build an index
of all the files available within the RPI network.
</para>
+<indexterm startref='idxgoogle' class='endofrange'/>
<para>
Jesse's wasn't the first search engine built for the RPI network.
Indeed, his engine was a simple modification of engines that others
a user could click to see if the machine holding the file was still
on-line.
</para>
+<indexterm startref='idxmicrosoftnetworkfilesystemof' class='endofrange'/>
<para>
Jesse's engine went on-line in late October. Over the following six
months, he continued to tweak it to improve its functionality. By
million files in his directory, including every type of content that might
be on users' computers.
</para>
+<indexterm startref='idxinternetsearchenginesusedon' class='endofrange'/>
<para>
Thus the index his search engine produced included pictures, which
students could use to put on their own Web sites; copies of notes or
users of the RPI network made available in a public folder of their
computer.
</para>
+<indexterm><primary>Google</primary></indexterm>
+<indexterm><primary>education</primary><secondary>tinkering as means of</secondary></indexterm>
<para>
But the index also included music files. In fact, one quarter of the
files that Jesse's search engine listed were music files. But that
environment where tinkering with technology was precisely what he was
supposed to do.
</para>
+<indexterm id='idxcopyrightinfringementlawsuitsinrecordingindustry' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>in recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitsagainststudentfilesharing' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>against student file sharing</secondary></indexterm>
+<indexterm id='idxrecordingindustrycopyrightinfringementlawsuitsof' class='startofrange'><primary>recording industry</primary><secondary>copyright infringement lawsuits of</secondary></indexterm>
+<indexterm id='idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby' class='startofrange'><primary>Recording Industry Association of America (RIAA)</primary><secondary>copyright infringement lawsuits filed by</secondary></indexterm>
+<indexterm startref='idxrensselaerpolytechnicinstituterpicomputernetworksearchengineof' class='endofrange'/>
<para>
On April 3, 2003, Jesse was contacted by the dean of students at
RPI. The dean informed Jesse that the Recording Industry Association
created or posted, and the vast majority of which had nothing to do
with music.
</para>
+<indexterm startref='idxsearchengines' class='endofrange'/>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>exaggerated claims of</secondary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>statutory damages of</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>individual defendants intimidated by</secondary></indexterm>
<indexterm><primary>statutory damages</primary></indexterm>
+<indexterm id='idxrecordingindustryassociationofamericariaaintimidationtacticsof' class='startofrange'><primary>Recording Industry Association of America (RIAA)</primary><secondary>intimidation tactics of</secondary></indexterm>
<para>
But the RIAA branded Jesse a pirate. They claimed he operated a
network and had therefore <quote>willfully</quote> violated copyright laws. They
hundred specific copyright infringements, they therefore demanded that
Jesse pay them at least $15,000,000.
</para>
-<indexterm><primary>Princeton University</primary></indexterm>
<indexterm><primary>Michigan Technical University</primary></indexterm>
+<indexterm><primary>Princeton University</primary></indexterm>
<para>
Similar lawsuits were brought against three other students: one other
student at RPI, one at Michigan Technical University, and one at
(2003): 5, available at 2003 WL 55179443.
</para></footnote>
</para>
-<indexterm startref="idxrensselaer" class='endofrange'/>
+<indexterm startref='idxrensselaer' class='endofrange'/>
<para>
Jesse called his parents. They were supportive but a bit frightened.
An uncle was a lawyer. He began negotiations with the RIAA. They
visit to a dentist like me.</quote>) And throughout, the RIAA insisted it
would not settle the case until it took every penny Jesse had saved.
</para>
+<indexterm><primary>legal system, attorney costs in</primary></indexterm>
<para>
Jesse's family was outraged at these claims. They wanted to fight.
But Jesse's uncle worked to educate the family about the nature of the
or $12,000 and a settlement.
</para>
<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
+<indexterm><primary>Recording Industry Association of America (RIAA)</primary><secondary>lobbying power of</secondary></indexterm>
<para>
The recording industry insists this is a matter of law and morality.
Let's put the law aside for a moment and think about the morality.
<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24.
</para></footnote>
</para>
+<indexterm startref='idxcopyrightinfringementlawsuitsindividualdefendantsintimidatedby' class='endofrange'/>
+<indexterm startref='idxrecordingindustryassociationofamericariaaintimidationtacticsof' class='endofrange'/>
<para>
On June 23, Jesse wired his savings to the lawyer working for the
RIAA. The case against him was then dismissed. And with this, this
pick on him. But he wants to let people know that they're sending the
wrong message. And he wants to correct the record.</quote>
</para>
+<indexterm startref='idxuniversitycomputernetworksppsharingon' class='endofrange'/>
+<indexterm startref='idxjordanjesse' class='endofrange'/>
+<indexterm startref='idxcopyrightinfringementlawsuitsinrecordingindustry' class='endofrange'/>
+<indexterm startref='idxcopyrightinfringementlawsuitsagainststudentfilesharing' class='endofrange'/>
+<indexterm startref='idxrecordingindustrycopyrightinfringementlawsuitsof' class='endofrange'/>
+<indexterm startref='idxrecordingindustryassociationofamericariaacopyrightinfringementlawsuitsfiledby' class='endofrange'/>
<!-- PAGE BREAK 66 -->
</chapter>
<chapter label="4" id="pirates">
-<title>CHAPTER FOUR: <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>
<emphasis role='strong'>If <quote>piracy</quote> means</emphasis>
</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>
The record industry was born of another kind of piracy, though to see
how requires a bit of detail about the way the law regulates music.
</para>
-<indexterm id=
"idxfourneauxhenri" class='startofrange'><primary>Fourneaux, Henri</primary></indexterm>
+<indexterm id=
'idxfourneauxhenri' class='startofrange'><primary>Fourneaux, Henri</primary></indexterm>
<indexterm><primary>Russel, Phil</primary></indexterm>
<para>
At the time that Edison and Henri Fourneaux invented machines
then, I could effectively pirate someone else's song without paying
its composer anything.
</para>
-<indexterm startref="idxfourneauxhenri" class='endofrange'/>
+<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 -->
rights.<footnote><para>
<!-- f4 -->
To Amend and Consolidate the Acts Respecting Copyright: Hearings on
-S. 6330 and H.R. 19853 Before the ( Joint) Committees on Patents, 59th
+S. 6330 and H.R. 19853 Before the (Joint) Committees on Patents, 59th
Cong. 59, 1st sess. (1906) (statement of Senator Alfred B. Kittredge,
of South Dakota, chairman), reprinted in <citetitle>Legislative History of the
Copyright Act</citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South
</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>
+<indexterm id='idxcongressusoncopyrightlaws' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressusonrecordingindustry' class='startofrange'><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxcopyrightlawstatutorylicensesin' class='startofrange'><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
+<indexterm id='idxrecordingindustrystatutorylicensesystemin' class='startofrange'><primary>recording industry</primary><secondary>statutory license system in</secondary></indexterm>
<para>
These arguments have familiar echoes in the wars of our day. So, too,
do the arguments on the other side. The innovators who developed the
</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>
Graphophone Company Association).
</para></footnote>
</para>
+<indexterm><primary>cover songs</primary></indexterm>
<para>
The law soon resolved this battle in favor of the composer
<emphasis>and</emphasis> the recording artist. Congress amended the
authorizes a recording of his song, others are free to record the same
song, so long as they pay the original composer a fee set by the law.
</para>
+<indexterm id='idxcompulsorylicense' class='startofrange'><primary>compulsory license</primary></indexterm>
+<indexterm id='idxstatutorylicenses' class='startofrange'><primary>statutory licenses</primary></indexterm>
<para>
American law ordinarily calls this a <quote>compulsory license,</quote> but I will
refer to it as a <quote>statutory license.</quote> A statutory license is a license
of recordings so long as they paid the composer (or copyright holder)
the fee set by the statute.
</para>
-<indexterm><primary>Grisham, John</primary></indexterm>
+<indexterm
id='idxgrishamjohn' class='startofrange'><primary>Grisham, John</primary></indexterm>
<para>
This is an exception within the law of copyright. When John Grisham
writes a novel, a publisher is free to publish that novel only if
Grisham.
</para>
<indexterm startref='idxcopyrightlawonmusicrecordings' class='endofrange'/>
+<indexterm><primary>Beatles</primary></indexterm>
<para>
But the law governing recordings gives recording artists less. And
thus, in effect, the law <emphasis>subsidizes</emphasis> the recording
<!-- f10 -->
Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and
-H.R. 11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st
+H.R. 11794 Before the (Joint) Committee on Patents, 60th Cong., 1st
sess., 217 (1908) (statement of Senator Reed Smoot, chairman), reprinted
in <citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. Fulton Brylawski and
Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, 1976).
</para></footnote>
-<indexterm><primary>Beatles</primary></indexterm>
</para>
+<indexterm startref='idxcongressusoncopyrightlaws' class='endofrange'/>
+<indexterm startref='idxcongressusonrecordingindustry' class='endofrange'/>
+<indexterm startref='idxgrishamjohn' class='endofrange'/>
<para>
While the recording industry has been quite coy about this recently,
historically it has been quite a supporter of the statutory license for
this report.</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxcopyrightlawstatutorylicensesin' class='endofrange'/>
+<indexterm startref='idxrecordingindustrystatutorylicensesystemin' class='endofrange'/>
+<indexterm startref='idxcompulsorylicense' class='endofrange'/>
+<indexterm startref='idxstatutorylicenses' class='endofrange'/>
<para>
By limiting the rights musicians have, by partially pirating their
creative work, the record producers, and the public, benefit.
</section>
<section id="radio">
<title>Radio</title>
-<indexterm id='idxartistspayments1' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm id='idxrecordingindustryradiobroadcastand' class='startofrange'><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm id='idxartistsrecordingindustrypaymentsto' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<para>
Radio was also born of piracy.
</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
for free, even if it must pay the composer something for the privilege
of playing the song.
</para>
-<indexterm id=
"idxmadonna" class='startofrange'><primary>Madonna</primary></indexterm>
+<indexterm id=
'idxmadonna' class='startofrange'><primary>Madonna</primary></indexterm>
<para>
This difference can be huge. Imagine you compose a piece of music.
Imagine it is your first. You own the exclusive right to authorize
<emphasis>pirate</emphasis> the value of Madonna's work without paying
her anything.
</para>
-<indexterm startref="idxmadonna" class='endofrange'/>
+<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
benefit. On average, the promotion they get is worth more than the
the choice for him or her, the law gives the radio station the right
to take something for nothing.
</para>
-<indexterm startref='idxartistspayments1' class='endofrange'/>
+<indexterm startref='idxrecordingindustryradiobroadcastand' class='endofrange'/>
</section>
<section id="cabletv">
<title>Cable TV</title>
-<indexterm id='idxcablet
v1' class='startofrange'><primary>cable television</primary></indexterm>
+<indexterm id='idxcablet
elevision' class='startofrange'><primary>cable television</primary></indexterm>
<para>
Cable TV was also born of a kind of piracy.
</para>
companies thus built their empire in part upon a <quote>piracy</quote> of the value
created by broadcasters' content.
</para>
-<indexterm startref='idxcabletv1' class='endofrange'/>
+<indexterm startref='idxpiracyindevelopmentofcontentindustry' class='endofrange'/>
+<indexterm startref='idxcabletelevision' class='endofrange'/>
<para>
<emphasis role='strong'>These separate stories</emphasis> sing a
common theme. If <quote>piracy</quote> means using value from someone
</section>
</chapter>
<chapter label="5" id="piracy">
-<title>CHAPTER FIVE: <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>
law should seek to either prevent it or find an alternative to assure the
author of his profit.
</para>
-<indexterm><primary>innovation</primary></indexterm>
-<indexterm><primary>Fanning, Shawn</primary></indexterm>
<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
the Napster technology had not made any major technological
innovations. Like every great advance in innovation on the Internet
put together components that had been developed independently.
</para>
<para>
+<indexterm><primary>Kazaa</primary></indexterm>
+<indexterm><primary>Napster</primary><secondary>number of registrations on</secondary></indexterm>
+<indexterm><primary>Napster</primary><secondary>replacement of</secondary></indexterm>
The result was spontaneous combustion. Launched in July 1999,
Napster amassed over 10 million users within nine months. After
eighteen months, there were close to 80 million registered users of the
p2p system, you can share your favorite songs with your best friend—
or your 20,000 best friends.
</para>
+<indexterm startref='idxnapster' class='endofrange'/>
<para>
According to a number of estimates, a huge proportion of Americans
have tasted file-sharing technology. A study by Ipsos-Insight in
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 -->
statutory licensing, they don't have to pay the copyright owner for
the content they sell.
</para>
-<indexterm><primary>Bernstein, Leonard</primary></indexterm>
<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
+<indexterm><primary>Bernstein, Leonard</primary></indexterm>
+<indexterm id='idxinternetbookson' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>
<para>
Type C sharing, then, is very much like used book stores or used
record stores. It is different, of course, because the person making
shut as well?
</para>
<indexterm id='idxbooksfreeonline1' class='startofrange'><primary>books</primary><secondary>free on-line releases of</secondary></indexterm>
+<indexterm><primary>Doctorow, Cory</primary></indexterm>
+<indexterm><primary>Down and Out in the Magic Kingdom (Doctorow)</primary></indexterm>
<para>
Finally, and perhaps most importantly, file-sharing networks enable
type D sharing to occur—the sharing of content that copyright owners
efficiencies? What is the content that otherwise would be
unavailable?</quote>
</para>
+<indexterm startref='idxinternetbookson' class='endofrange'/>
<para>
For unlike the piracy I described in the first section of this
chapter, much of the <quote>piracy</quote> that file sharing enables is plainly
<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
+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
-beyond that one class of sharing. That much is obvious from the
- Napster
-case itself. When Napster told the district court that it had
- developed
-a technology to block the transfer of 99.4 percent of identified
+beyond that one class of sharing. That much is obvious from the
+Napster case itself. When Napster told the district court that it had
+developed a technology to block the transfer of 99.4 percent of
+identified
+
<!-- PAGE BREAK 87 -->
infringing material, the district court told counsel for Napster 99.4
percent was not good enough. Napster had to push the infringements
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='idxcopyrightlawonmusicrecordings2' class='endofrange'/>
<indexterm startref='idxcopyrightlawstatutorylicensesin2' class='endofrange'/>
<indexterm startref='idxcabletv2' class='endofrange'/>
-<indexterm><primary>Betamax</primary></indexterm>
+<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
not, and for that, Disney and Universal wanted to hold it responsible
for the architecture it chose.
</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
of Jack Valenti).
</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></footnote>
</para>
</blockquote>
+<indexterm startref='idxcongressusoncopyrightlaws3' class='endofrange'/>
<para>
Congress was asked to respond to the Supreme Court's decision. But as
with the plea of recording artists about radio broadcasts, Congress
<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,
controlled film? Should every cover band have to hire a lawyer to get
permission to record a song?
</para>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>on balance of interests in copyright law</secondary></indexterm>
<para>
We could answer yes to each of these questions, but our tradition
has answered no. In our tradition, as the Supreme Court has stated,
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>
table, and putting it in my backyard? What is the thing I am taking
then?
</para>
+<indexterm><primary>Jefferson, Thomas</primary></indexterm>
<para>
The point is not just about the thingness of picnic tables versus
ideas, though that's an important difference. The point instead is that
Ellery Bergh, eds., 1903), 330, 333–34.
</para></footnote>
</para>
+<indexterm><primary>property rights</primary><secondary>intangibility of</secondary></indexterm>
<para>
The exceptions to free use are ideas and expressions within the
reach of the law of patent and copyright, and a few other domains that
<!-- PAGE BREAK 96 -->
<chapter label="6" id="founders">
-<title>CHAPTER SIX: Founders</title>
-<indexterm><primary>Henry V</primary></indexterm>
+<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>
+<indexterm id='idxenglandcopyrightlawsdevelopedin' class='startofrange'><primary>England, copyright laws developed in</primary></indexterm>
+<indexterm id='idxunitedkingdomhistoryofcopyrightlawin' class='startofrange'><primary>United Kingdom</primary><secondary>history of copyright law in</secondary></indexterm>
<indexterm><primary>Branagh, Kenneth</primary></indexterm>
-<indexterm id='idxbooksenglishlaw' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
+<indexterm><primary>Henry V</primary></indexterm>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
+<indexterm id='idxromeoandjulietshakespeare' class='startofrange'><primary>Romeo and Juliet (Shakespeare)</primary></indexterm>
<para>
<emphasis role='strong'>William Shakespeare</emphasis> wrote
<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first
Henry V: <quote>I liked it, but Shakespeare is so full of
clichés.</quote>
</para>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxtonsonjacob' class='startofrange'><primary>Tonson, Jacob</primary></indexterm>
<para>
In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was written, the
<quote>copy-right</quote> for the work was still thought by many to be the exclusive
copyright. Prices of the classics were thus kept high; competition to
produce better or cheaper editions was eliminated.
</para>
-<indexterm id='idxbritishparliament' class='startofrange'><primary>British Parliament</primary></indexterm>
+<indexterm><primary>British Parliament</primary></indexterm>
+<indexterm id='idxcopyrightdurationof2' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>renewability of</secondary></indexterm>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
<para>
Now, there's something puzzling about the year 1774 to anyone who
knows a little about copyright law. The better-known year in the
free in 1731. So why was there any issue about it still being under
Tonson's control in 1774?
</para>
+<indexterm startref='idxromeoandjulietshakespeare' class='endofrange'/>
+<indexterm startref='idxtonsonjacob' class='endofrange'/>
+<indexterm id='idxlawcommonvspositive' class='startofrange'><primary>law</primary><secondary>common vs. positive</secondary></indexterm>
+<indexterm><primary>positive law</primary></indexterm>
<indexterm><primary>Licensing Act (1662)</primary></indexterm>
<para>
The reason is that the English hadn't yet agreed on what a <quote>copyright</quote>
that the publishers, or <quote>Stationers,</quote> had an exclusive right to print
books.
</para>
+<indexterm startref='idxcopyrightdurationof2' class='endofrange'/>
+<indexterm><primary>common law</primary></indexterm>
<para>
There was no <emphasis>positive</emphasis> law, but that didn't mean
that there was no law. The Anglo-American legal tradition looks to
question after the licensing statutes had expired was whether the
common law protected a copyright, independent of any positive law.
</para>
+<indexterm startref='idxlawcommonvspositive' class='endofrange'/>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxbritishparliament' class='startofrange'><primary>British Parliament</primary></indexterm>
+<indexterm><primary>Scottish publishers</primary></indexterm>
+<indexterm id='idxstatuteofanne' class='startofrange'><primary>Statute of Anne (1710)</primary></indexterm>
<para>
This question was important to the publishers, or <quote>booksellers,</quote> as
they were called, because there was growing competition from foreign
ultimately
resulted in the Statute of Anne.
</para>
+<indexterm id='idxcopyrightasnarrowmonopolyright' class='startofrange'><primary>copyright</primary><secondary>as narrow monopoly right</secondary></indexterm>
<para>
The Statute of Anne granted the author or <quote>proprietor</quote> of a book an
exclusive right to print that book. In an important limitation,
published by anyone. Or so the legislature is thought to have
believed.
</para>
+<indexterm startref='idxstatuteofanne' class='endofrange'/>
<para>
Now, the thing to puzzle about for a moment is this: Why would
Parliament limit the exclusive right? Not why would they limit it to
the particular limit they set, but why would they limit the right
<emphasis>at all?</emphasis>
</para>
+<indexterm startref='idxbritishparliament' class='endofrange'/>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
+<indexterm><primary>Romeo and Juliet (Shakespeare)</primary></indexterm>
<para>
For the booksellers, and the authors whom they represented, had a very
strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: That play
take Shakespeare's play without his, or his estate's, permission? What
reason is there to allow someone else to <quote>steal</quote> Shakespeare's work?
</para>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
<para>
The answer comes in two parts. We first need to see something special
about the notion of <quote>copyright</quote> that existed at the time of the
Statute of Anne. Second, we have to see something important about
<quote>booksellers.</quote>
</para>
+<indexterm><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>
<para>
First, about copyright. In the last three hundred years, we have come
to apply the concept of <quote>copyright</quote> ever more broadly. But in 1710, it
distribute, the exclusive right to perform, and so on.
</para>
<indexterm><primary>Branagh, Kenneth</primary></indexterm>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
<para>
So, for example, even if the copyright to Shakespeare's works were
perpetual, all that would have meant under the original meaning of the
right to print—no less, of course, but also no more.
</para>
<indexterm><primary>Henry VIII, King of England</primary></indexterm>
+<indexterm id='idxmonopolycopyrightas' class='startofrange'><primary>monopoly, copyright as</primary></indexterm>
<indexterm><primary>Statute of Monopolies (1656)</primary></indexterm>
<para>
Even that limited right was viewed with skepticism by the British.
only so long as it benefited society. The British saw the harms from
specialinterest favors; they passed a law to stop them.
</para>
-<indexterm id='idxbooksellers' class='startofrange'><primary>booksellers, English</primary></indexterm>
+<indexterm><primary>Milton, John</primary></indexterm>
+<indexterm id='idxbooksellersenglish' class='startofrange'><primary>booksellers, English</primary></indexterm>
+<indexterm><primary>Conger</primary></indexterm>
+<indexterm id='idxcopyrightdurationof3' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
<para>
Second, about booksellers. It wasn't just that the copyright was a
monopoly. It was also that it was a monopoly held by the booksellers.
Property</citetitle> (New York: J. Messner, Inc., 1937), 31.
</para></footnote>
</para>
+<indexterm><primary>Enlightenment</primary></indexterm>
+<indexterm><primary>knowledge, freedom of</primary></indexterm>
<para>
Many believed the power the booksellers exercised over the spread of
knowledge was harming that spread, just at the time the Enlightenment
the time, and these powerful commercial interests were interfering
with that idea.
</para>
+<indexterm id='idxbritishparliament2' class='startofrange'><primary>British Parliament</primary></indexterm>
<para>
To balance this power, Parliament decided to increase competition
among booksellers, and the simplest way to do that was to spread the
an indirect way to assure competition among publishers, and thus the
construction and spread of culture.
</para>
+<indexterm id='idxstatuteofanne2' class='startofrange'><primary>Statute of Anne (1710)
+</primary></indexterm>
+<indexterm id='idxcopyrightinperpetuity' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
<para>
When 1731 (1710 + 21) came along, however, the booksellers were
getting anxious. They saw the consequences of more competition, and
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxstatuteofanne2' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity' class='endofrange'/>
+<indexterm><primary>common law</primary></indexterm>
+<indexterm><primary>law</primary><secondary>common vs. positive</secondary></indexterm>
+<indexterm><primary>positive law</primary></indexterm>
<para>
Having failed in Parliament, the publishers turned to the courts in a
series of cases. Their argument was simple and direct: The Statute of
Statute of Anne copyright had expired. This, they argued, was the only
way to protect authors.
</para>
-<indexterm><primary>Patterson, Raymond</primary></indexterm>
+<indexterm startref='idxbritishparliament2' class='endofrange'/>
<para>
This was a clever argument, and one that had the support of some of
the leading jurists of the day. It also displayed extraordinary
The bookseller didn't care squat for the rights of the author. His
concern was the monopoly profit that the author's work gave.
</para>
+<indexterm id='idxdonaldsonalexander' class='startofrange'><primary>Donaldson, Alexander</primary></indexterm>
+<indexterm><primary>Patterson, Raymond</primary></indexterm>
+<indexterm id='idxscottishpublishers' class='startofrange'><primary>Scottish publishers</primary></indexterm>
<para>
The booksellers' argument was not accepted without a fight.
The hero of this fight was a Scottish bookseller named Alexander
(London: Routledge, 1992), 62–69.
</para></footnote>
</para>
+<indexterm id='idxstatuteofanne3' class='startofrange'><primary>Statute of Anne (1710)</primary></indexterm>
+<indexterm id='idxconger' class='startofrange'><primary>Conger</primary></indexterm>
<indexterm><primary>Boswell, James</primary></indexterm>
<indexterm><primary>Erskine, Andrew</primary></indexterm>
<para>
Ibid., 93.
</para></footnote>
</para>
+<indexterm id='idxcommonlaw' class='startofrange'><primary>common law</primary></indexterm>
<para>
When the London booksellers tried to shut down Donaldson's shop in
Scotland, he responded by moving his shop to London, where he sold
rested his right to compete upon the ground that, under the Statute of
Anne, the works he was selling had passed out of protection.
</para>
+<indexterm startref='idxconger' class='endofrange'/>
+<indexterm id='idxmillarvtaylor' class='startofrange'><primary>Millar v. Taylor</primary></indexterm>
<para>
The London booksellers quickly brought suit to block <quote>piracy</quote> like
Donaldson's. A number of actions were successful against the <quote>pirates,</quote>
the most important early victory being <citetitle>Millar</citetitle> v. <citetitle>Taylor</citetitle>.
</para>
+<indexterm startref='idxdonaldsonalexander' class='endofrange'/>
+<indexterm startref='idxscottishpublishers' class='endofrange'/>
+<indexterm id='idxthomsonjames' class='startofrange'><primary>Thomson, James</primary></indexterm>
+<indexterm id='idxcopyrightinperpetuity2' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
<indexterm><primary>Seasons, The (Thomson)</primary></indexterm>
<indexterm><primary>Taylor, Robert</primary></indexterm>
<para>
rule thus effectively gave the booksellers a perpetual right to
control the publication of any book assigned to them.
</para>
+<indexterm startref='idxcommonlaw' class='endofrange'/>
+<indexterm startref='idxthomsonjames' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity2' class='endofrange'/>
+<indexterm id='idxbritishparliament3' class='startofrange'><primary>British Parliament</primary></indexterm>
<para>
Considered as a matter of abstract justice—reasoning as if
justice were just a matter of logical deduction from first
Crown coveted to the free culture that we inherited.
</para>
<indexterm startref='idxmansfieldwilliammurraylord2' class='endofrange'/>
+<indexterm id='idxdonaldsonalexander2' class='startofrange'><primary>Donaldson, Alexander</primary></indexterm>
+<indexterm id='idxscottishpublishers2' class='startofrange'><primary>Scottish publishers</primary></indexterm>
<para>
The fight to defend the limits of the Statute of Anne was not to end
there, however, and it is here that Donaldson enters the mix.
</para>
+<indexterm><primary>Thomson, James</primary></indexterm>
<indexterm><primary>Beckett, Thomas</primary></indexterm>
+<indexterm id='idxhouseoflords' class='startofrange'><primary>House of Lords</primary></indexterm>
+<indexterm id='idxsupremecourtushouseoflordsvs' class='startofrange'><primary>Supreme Court, U.S.</primary><secondary>House of Lords vs.</secondary></indexterm>
<para>
Millar died soon after his victory, so his case was not appealed. His
estate sold Thomson's poems to a syndicate of printers that included
Court. In February of 1774, that body had the chance to interpret the
meaning of Parliament's limits from sixty years before.
</para>
+<indexterm startref='idxmillarvtaylor' class='endofrange'/>
+<indexterm startref='idxbritishparliament3' class='endofrange'/>
+<indexterm id='idxdonaldsonvbeckett' class='startofrange'><primary>Donaldson v. Beckett</primary></indexterm>
+<indexterm id='idxcommonlaw2' class='startofrange'><primary>common law</primary></indexterm>
<para>
As few legal cases ever do, <citetitle>Donaldson</citetitle> v. <citetitle>Beckett</citetitle> drew an
enormous amount of attention throughout Britain. Donaldson's lawyers
specified in the Statute of Anne expired, works that had been
protected by the statute were no longer protected.
</para>
+<indexterm startref='idxstatuteofanne3' class='endofrange'/>
<para>
The House of Lords was an odd institution. Legal questions were
presented to the House and voted upon first by the <quote>law lords,</quote>
Justices in our Supreme Court. Then, after the law lords voted, the
House of Lords generally voted.
</para>
+<indexterm startref='idxsupremecourtushouseoflordsvs' class='endofrange'/>
+<indexterm id='idxcopyrightinperpetuity3' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
+<indexterm id='idxpublicdomainenglishlegalestablishmentof' class='startofrange'><primary>public domain</primary><secondary>English legal establishment of</secondary></indexterm>
<para>
The reports about the law lords' votes are mixed. On some counts,
it looks as if perpetual copyright prevailed. But there is no ambiguity
fixed for a limited time, after which the work protected by copyright
passed into the public domain.
</para>
+<indexterm><primary>Bacon, Francis</primary></indexterm>
+<indexterm><primary>Bunyan, John</primary></indexterm>
+<indexterm><primary>Johnson, Samuel</primary></indexterm>
+<indexterm><primary>Milton, John</primary></indexterm>
+<indexterm><primary>Shakespeare, William</primary></indexterm>
<para>
<quote>The public domain.</quote> Before the case of <citetitle>Donaldson</citetitle>
v. <citetitle>Beckett</citetitle>, there was no clear idea of a public domain in
over creative works expired, and the greatest works in English
history—including those of Shakespeare, Bacon, Milton, Johnson,
and Bunyan—were free of legal restraint.
-<indexterm><primary>Bacon, Francis</primary></indexterm>
-<indexterm><primary>Bunyan, John</primary></indexterm>
-<indexterm><primary>Johnson, Samuel</primary></indexterm>
-<indexterm><primary>Milton, John</primary></indexterm>
-<indexterm><primary>Shakespeare, William</primary></indexterm>
</para>
+<indexterm startref='idxdonaldsonalexander2' class='endofrange'/>
+<indexterm startref='idxscottishpublishers2' class='endofrange'/>
+<indexterm startref='idxcommonlaw2' class='endofrange'/>
+<indexterm startref='idxcopyrightinperpetuity3' class='endofrange'/>
+<indexterm startref='idxpublicdomainenglishlegalestablishmentof' class='endofrange'/>
+<indexterm><primary>Scottish publishers</primary></indexterm>
<para>
It is hard for us to imagine, but this decision by the House of Lords
fueled an extraordinarily popular and political reaction. In Scotland,
Rose, 97.
</para></footnote>
</para>
+<indexterm startref='idxhouseoflords' class='endofrange'/>
<para>
In London, however, at least among publishers, the reaction was
equally strong in the opposite direction. The <citetitle>Morning Chronicle</citetitle>
</para></footnote>
</para>
</blockquote>
+<indexterm><primary>House of Lords</primary></indexterm>
+<indexterm><primary>free culture</primary><secondary>English legal establishment of</secondary></indexterm>
<para>
<!-- PAGE BREAK 105 -->
<quote>Ruined</quote> is a bit of an exaggeration. But it is not an exaggeration to
culture is available to people and how they get access to it are made
by the few despite the wishes of the many.
</para>
-<indexterm startref='idxbooksellers' class='endofrange'/>
+<indexterm startref='idxbooksellersenglish' class='endofrange'/>
+<indexterm><primary>British Parliament</primary></indexterm>
<para>
At least, this was the rule in a world where the Parliament is
antimonopoly, resistant to the protectionist pleas of publishers. In a
world where the Parliament is more pliant, free culture would be less
protected.
</para>
-<indexterm startref='idxbritishparliament' class='endofrange'/>
-<indexterm startref='idxbooksenglishlaw' class='endofrange'/>
+<indexterm startref='idxbooksenglishcopyrightlawdevelopedfor' class='endofrange'/>
+<indexterm startref='idxcopyrightlawdevelopmentof' class='endofrange'/>
+<indexterm startref='idxcopyrightlawenglish' class='endofrange'/>
+<indexterm startref='idxenglandcopyrightlawsdevelopedin' class='endofrange'/>
+<indexterm startref='idxunitedkingdomhistoryofcopyrightlawin' class='endofrange'/>
+<indexterm startref='idxcopyrightasnarrowmonopolyright' class='endofrange'/>
+<indexterm startref='idxmonopolycopyrightas' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof3' class='endofrange'/>
+<indexterm startref='idxdonaldsonvbeckett' class='endofrange'/>
<!-- PAGE BREAK 106 -->
</chapter>
<chapter label="7" id="recorders">
-<title>CHAPTER SEVEN: 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>
+<indexterm id='idxfairuseindocumentaryfilm' class='startofrange'><primary>fair use</primary><secondary>in documentary film</secondary></indexterm>
+<indexterm id='idxfilmsfairuseofcopyrightedmaterialin' class='startofrange'><primary>films</primary><secondary>fair use of copyrighted material in</secondary></indexterm>
<para>
<emphasis role='strong'>Jon Else</emphasis> is a filmmaker. He is best
known for his documentaries and has been very successful in spreading
he told me a story about the freedom to create with film in America
today.
</para>
+<indexterm id='idxwagnerrichard' class='startofrange'><primary>Wagner, Richard</primary></indexterm>
+<indexterm><primary>San Francisco Opera</primary></indexterm>
<para>
In 1990, Else was working on a documentary about Wagner's Ring
Cycle. The focus was stagehands at the San Francisco Opera.
During a show, they hang out below the stage in the grips' lounge and
in the lighting loft. They make a perfect contrast to the art on the
stage.
-<indexterm><primary>San Francisco Opera</primary></indexterm>
</para>
+<indexterm id='idxsimpsonsthe' class='startofrange'><primary>Simpsons, The</primary></indexterm>
<para>
During one of the performances, Else was shooting some stagehands
playing checkers. In one corner of the room was a television set.
it, this touch of cartoon helped capture the flavor of what was special
about the scene.
</para>
+<indexterm startref='idxwagnerrichard' class='endofrange'/>
+<indexterm><primary>films</primary><secondary>multiple copyrights associated with</secondary></indexterm>
<para>
Years later, when he finally got funding to complete the film, Else
attempted to clear the rights for those few seconds of <citetitle>The Simpsons</citetitle>.
copyrighted material you need the permission of the copyright owner,
unless <quote>fair use</quote> or some other privilege applies.
</para>
-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgraciefilms' class='startofrange'><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxgroeningmatt' class='startofrange'><primary>Groening, Matt</primary></indexterm>
<para>
Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office to get permission.
Groening approved the shot. The shot was a four-and-a-halfsecond image
Groening was happy to have it in the film, but he told Else to contact
Gracie Films, the company that produces the program.
</para>
-<indexterm><primary>Gracie Films</primary></indexterm>
+<indexterm id='idxfoxfilmcompany' class='startofrange'><primary>Fox (film company)</primary></indexterm>
<para>
Gracie Films was okay with it, too, but they, like Groening, wanted
to be careful. So they told Else to contact Fox, Gracie's parent company.
room shot of the film. Matt Groening had already given permission,
Else said. He was just confirming the permission with Fox.
</para>
+<indexterm startref='idxgraciefilms' class='endofrange'/>
<para>
Then, as Else told me, <quote>two things happened. First we discovered
… that Matt Groening doesn't own his own creation—or at
to use this four-point-five seconds of … entirely unsolicited
<citetitle>Simpsons</citetitle> which was in the corner of the shot.</quote>
</para>
-<indexterm><primary>Herrera, Rebecca</primary></indexterm>
+<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
he thought was a vice president for licensing, Rebecca Herrera. He
rate, Herrera told Else. A day or so later, Else called again to
confirm what he had been told.
</para>
+<indexterm><primary>Wagner, Richard</primary></indexterm>
<para>
<quote>I wanted to make sure I had my facts straight,</quote> he told me. <quote>Yes, you
have your facts straight,</quote> she said. It would cost $10,000 to use the
to Herrera told Else later on, <quote>They don't give a shit. They just want
the money.</quote>
</para>
+<indexterm startref='idxherrerarebecca' class='endofrange'/>
<indexterm><primary>San Francisco Opera</primary></indexterm>
<indexterm><primary>Day After Trinity, The</primary></indexterm>
<para>
episode is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair use does
not require the permission of anyone.
</para>
+<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>
<blockquote>
+<indexterm id='idxfairuselegalintimidationtacticsagainst' class='startofrange'><primary>fair use</primary><secondary>legal intimidation tactics against</secondary></indexterm>
<para>
The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the gulf between what
lawyers find irrelevant in some abstract sense, and what is crushingly
concept in any concrete way. Here's why:
</para>
<orderedlist numeration="arabic">
-<listitem><para>
+<listitem>
+<indexterm><primary>Errors and Omissions insurance</primary></indexterm>
+<para>
<!-- 1. -->
Before our films can be broadcast, the network requires that we buy
Errors and Omissions insurance. The carriers require a detailed
<quote>fair use</quote> can grind the application process to a halt.
</para></listitem>
<listitem>
-<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>
+<indexterm id='idxfoxfilmcompany3' class='startofrange'><primary>Fox (film company)</primary></indexterm>
+<indexterm><primary>Groening, Matt</primary></indexterm>
<indexterm><primary>Lucas, George</primary></indexterm>
+<indexterm><primary><citetitle>Star Wars</citetitle></primary></indexterm>
<para>
<!-- 2. -->
I probably never should have asked Matt Groening in the first
would boil down to who had the bigger legal department and the deeper
pockets, me or them.
<!-- PAGE BREAK 110 -->
-</para></listitem>
+</para>
+<indexterm startref='idxfoxfilmcompany3' class='endofrange'/>
+</listitem>
<listitem><para>
<!-- 4. -->
The question of fair use usually comes up at the end of the
</para></listitem>
</orderedlist>
</blockquote>
+<indexterm startref='idxsimpsonsthe' class='endofrange'/>
<para>
In theory, fair use means you need no permission. The theory therefore
supports free culture and insulates against a permission culture. But
matured into a sword that interferes with any use, transformative or
not.
</para>
+<indexterm startref='idxcopyrightlawfairuseand' class='endofrange'/>
+<indexterm startref='idxdocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxelsejon' class='endofrange'/>
+<indexterm startref='idxfairuseindocumentaryfilm' class='endofrange'/>
+<indexterm startref='idxfilmsfairuseofcopyrightedmaterialin' class='endofrange'/>
+<indexterm startref='idxfairuselegalintimidationtacticsagainst' class='endofrange'/>
<!-- PAGE BREAK 111 -->
</chapter>
<chapter label="8" id="transformers">
-<title>CHAPTER EIGHT: 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>
began his talk with a question: <quote>Do you know how many federal laws
were just violated in this room?</quote>
</para>
-<indexterm><primary>Boies, David</primary></indexterm>
-<indexterm><primary>Alben, Alex</primary></indexterm>
<para>
+<indexterm><primary>Alben, Alex</primary></indexterm>
+<indexterm><primary>Boies, David</primary></indexterm>
+<indexterm><primary>Court of Appeals</primary><secondary>Ninth Circuit</secondary></indexterm>
+<indexterm><primary>Ninth Circuit Court of Appeals</primary></indexterm>
+<indexterm><primary>Napster</primary></indexterm>
For of course, the two brilliantly talented creators who made this
film hadn't done what Alben did. They hadn't spent a year clearing the
rights to these clips; technically, what they had done violated the
<!-- PAGE BREAK 119 -->
</chapter>
<chapter label="9" id="collectors">
-<title>CHAPTER NINE: 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
Doug Herrick, <quote>Toward a National Film Collection: Motion Pictures at
the Library of Congress,</quote> <citetitle>Film Library Quarterly</citetitle> 13 nos. 2–3
(1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History of Film
-Preservation in the United States</citetitle> ( Jefferson, N.C.: McFarland &
+Preservation in the United States</citetitle> (Jefferson, N.C.: McFarland &
Co., 1992), 36.
</para></footnote>
</para>
</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>CHAPTER TEN: <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>
owner. He is effectively arguing for a change in our Constitution
itself.
</para>
+<indexterm id='idxjeffersonthomas' class='startofrange'><primary>Jefferson, Thomas</primary></indexterm>
<para>
Arguing for a change in our Constitution is not necessarily wrong.
There was much in our original Constitution that was plainly wrong.
did they require that for creative property there must be a public
domain?
</para>
+<indexterm startref='idxjeffersonthomas' class='endofrange'/>
+
<para>
To answer this question, we need to get some perspective on the
history of these <quote>creative property</quote> rights, and the control that they
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>
+<indexterm id='idxlawasconstraintmodality' class='startofrange'><primary>law</primary><secondary>as constraint modality</secondary></indexterm>
<para>
<!-- PAGE BREAK 132 -->
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.png"></graphic>
+<title></title>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
</figure>
+<indexterm><primary>Madonna</primary></indexterm>
<para>
At the center of this picture is a regulated dot: the individual or
group that is the target of regulation, or the holder of a right. (In
state. The mark of the difference is not the severity of the rule, but
the source of the enforcement.
</para>
-<indexterm><primary>market constraints</primary></indexterm>
+<indexterm
id='idxmarketconstraints' class='startofrange'><primary>market constraints</primary></indexterm>
<para>
The market is a third type of constraint. Its constraint is effected
through conditions: You can do X if you pay Y; you'll be paid M if you
constraint. If a $500 airplane ticket stands between you and a flight
to New York, it is the market that enforces this constraint.
</para>
+<indexterm startref='idxcopyrightlawasexpostregulationmodality' class='endofrange'/>
+<indexterm startref='idxlawasconstraintmodality' class='endofrange'/>
+<indexterm startref='idxmarketconstraints' class='endofrange'/>
+<indexterm id='idxlawasconstraintmodality2' class='startofrange'><primary>law</primary><secondary>as constraint modality</secondary></indexterm>
<para>
<!-- PAGE BREAK 134 -->
most significant, and any regulator (whether controlling or freeing)
must consider how these four in particular interact.
</para>
-<indexterm id="idxdrivespeed" class='startofrange'><primary>driving speed, constraints on</primary></indexterm>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<indexterm><primary>market constraints</primary></indexterm>
<indexterm><primary>norms, regulatory influence of</primary></indexterm>
+<indexterm id='idxdrivingspeedconstraintson' class='startofrange'><primary>driving speed, constraints on</primary></indexterm>
+<indexterm id='idxspeedingconstraintson' class='startofrange'><primary>speeding, constraints on</primary></indexterm>
<para>
So, for example, consider the <quote>freedom</quote> to drive a car at a high
speed. That freedom is in part restricted by laws: speed limits that
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
limit, for example—so as to decrease the attractiveness of fast
driving.
</para>
-<indexterm startref="idxdrivespeed" class='endofrange'/>
-
+<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.png"></graphic>
+<title></title>
+<graphic fileref="images/1361.svg" align="center" width="45%"></graphic>
+
</figure>
<indexterm><primary>architecture, constraint effected through</primary></indexterm>
<para>
<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'/>
<section id="hollywood">
<title>Why Hollywood Is Right</title>
+<indexterm id='idxcopyrightfourregulatorymodalitieson' class='startofrange'><primary>copyright</primary><secondary>four regulatory modalities on</secondary></indexterm>
<para>
The most obvious point that this model reveals is just why, or just
how, Hollywood is right. The copyright warriors have rallied Congress
Internet:
</para>
<figure id="fig-1371">
-<title>Copyright's regulation before the Internet.</title>
-<graphic fileref="images/1331.png"></graphic>
+<title></title>
+<graphic fileref="images/1331.svg" align="center" width="45%"></graphic>
+
</figure>
-<indexterm><primary>market constraints</primary></indexterm>
-<indexterm><primary>norms, regulatory influence of</primary></indexterm>
+<indexterm id='idxarchitectureconstrainteffectedthrough' class='startofrange'><primary>architecture, constraint effected through</primary></indexterm>
+<indexterm><primary>law</primary><secondary>as constraint modality</secondary></indexterm>
+<indexterm id='idxnormsregulatoryinfluenceof2' class='startofrange'><primary>norms, regulatory influence of</primary></indexterm>
<para>
<!-- PAGE BREAK 136 -->
There is balance between law, norms, market, and architecture. The law
of our society (before the Internet, at least) had no problem with
this form of infringement.
</para>
+<indexterm id='idxinternetcopyrightregulatorybalancelostwith' class='startofrange'><primary>Internet</primary><secondary>copyright regulatory balance lost with</secondary></indexterm>
+<indexterm><primary>peer-to-peer (p2p) file sharing</primary><secondary>regulatory balance lost in</secondary></indexterm>
+<indexterm><primary>market constraints</primary></indexterm>
+<indexterm><primary>MP3s</primary></indexterm>
<para>
Enter the Internet, or, more precisely, technologies such as MP3s and
p2p sharing. Now the constraint of architecture changes dramatically,
happy balance (for the warriors, at least) of life before the Internet
becomes an effective state of anarchy after the Internet.
</para>
+<indexterm startref='idxarchitectureconstrainteffectedthrough' class='endofrange'/>
+<indexterm startref='idxnormsregulatoryinfluenceof2' class='endofrange'/>
+<indexterm><primary>technology</primary><secondary>established industries threatened by changes in</secondary></indexterm>
<para>
Thus the sense of, and justification for, the warriors' response.
Technology has changed, the warriors say, and the effect of this
looting that results.
</para>
<figure id="fig-1381">
-<title>effective state of anarchy after the Internet.</title>
-<graphic fileref="images/1381.png"></graphic>
+<title></title>
+<graphic fileref="images/1381.svg" align="center" width="45%"></graphic>
+
</figure>
+<indexterm><primary>Commerce, U.S. Department of</primary></indexterm>
+<indexterm id='idxregulationasestablishmentprotectionism' class='startofrange'><primary>regulation</primary><secondary>as establishment protectionism</secondary></indexterm>
<para>
Neither this analysis nor the conclusions that follow are new to the
warriors. Indeed, in a <quote>White Paper</quote> prepared by the Commerce
develop code to protect copyrighted material, and (4) educators should
educate kids to better protect copyright.
</para>
+<indexterm startref='idxfreeculturefourmodalitiesofconstrainton' class='endofrange'/>
+<indexterm startref='idxregulationfourmodalitiesof' class='endofrange'/>
+<indexterm><primary>farming</primary></indexterm>
<indexterm><primary>steel industry</primary></indexterm>
<para>
This mixed strategy is just what copyright needed—if it was to
crop. Unions have no hesitation appealing to the government to bail
them out when imports (market) wipe out the U.S. steel industry.
</para>
+<indexterm startref='idxcopyrightfourregulatorymodalitieson' class='endofrange'/>
+<indexterm startref='idxinternetcopyrightregulatorybalancelostwith' class='endofrange'/>
+<indexterm><primary>Brown, John Seely</primary></indexterm>
<para>
Thus, there's nothing wrong or surprising in the content industry's
campaign to protect itself from the harmful consequences of a
on the content industry's way of doing business, or as John Seely
Brown describes it, its <quote>architecture of revenue.</quote>
</para>
-<indexterm><primary>railroad industry</primary></indexterm>
<indexterm><primary>advertising</primary></indexterm>
+<indexterm><primary>television</primary><secondary>advertising on</secondary></indexterm>
+<indexterm><primary>commercials</primary></indexterm>
<indexterm><primary>camera technology</primary></indexterm>
+<indexterm><primary>digital cameras</primary></indexterm>
+<indexterm><primary>Kodak cameras</primary></indexterm>
+<indexterm><primary>railroad industry</primary></indexterm>
+<indexterm><primary>remote channel changers</primary></indexterm>
<para>
But just because a particular interest asks for government support, it
doesn't follow that support should be granted. And just because
<emphasis>for the purpose of</emphasis> protecting the railroads?
Closer to the subject of this book, remote channel changers have
weakened the <quote>stickiness</quote> of television advertising (if a boring
-commercial comes on the TV, the remote makes it easy to surf ), and it
+commercial comes on the TV, the remote makes it easy to surf), and it
may well be that this change has weakened the television advertising
market. But does anyone believe we should regulate remotes to
reinforce commercial television? (Maybe by limiting them to function
only once a second, or to switch to only ten channels within an hour?)
</para>
+<indexterm id='idxfreemarkettechnologicalchangesin' class='startofrange'><primary>free market, technological changes in</primary></indexterm>
<indexterm><primary>Brezhnev, Leonid</primary></indexterm>
+<indexterm><primary>FM radio</primary></indexterm>
+<indexterm><primary>radio</primary><secondary>FM spectrum of</secondary></indexterm>
<indexterm><primary>Gates, Bill</primary></indexterm>
+<indexterm><primary>market competition</primary></indexterm>
+<indexterm><primary>RCA</primary></indexterm>
<para>
The obvious answer to these obviously rhetorical questions is no.
In a free society, with a free market, supported by free enterprise and
changing technology, are changes that preserve the incentives and
opportunities for innovation and change.
</para>
+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>
+<indexterm><primary>speech, freedom of</primary><secondary>constitutional guarantee of</secondary></indexterm>
<para>
In the context of laws regulating speech—which include,
obviously, copyright law—that duty is even stronger. When the
of speech, it should ask— carefully—whether such
regulation is justified.
</para>
+<indexterm startref='idxregulationasestablishmentprotectionism' class='endofrange'/>
+<indexterm startref='idxfreemarkettechnologicalchangesin' class='endofrange'/>
<para>
My argument just now, however, has nothing to do with whether
<!-- PAGE BREAK 140 -->
<para>
Here's the metaphor that will capture the argument to follow.
</para>
-<indexterm id="idxddt" class='startofrange'><primary>DDT</primary></indexterm>
-<indexterm><primary>Müller, Paul Hermann</primary></indexterm>
+<indexterm id='idxmllerpaulhermann' class='startofrange'><primary>Müller, Paul Hermann</primary></indexterm>
+<indexterm id='idxddt' class='startofrange'><primary>DDT</primary></indexterm>
+<indexterm id='idxinsecticideenvironmentalconsequencesof' class='startofrange'><primary>insecticide, environmental consequences of</primary></indexterm>
+<indexterm id='idxfarming' class='startofrange'><primary>farming</primary></indexterm>
<para>
In 1873, the chemical DDT was first synthesized. In 1948, Swiss
chemist Paul Hermann Müller won the Nobel Prize for his work
important and valuable and probably saved lives, possibly millions.
</para>
<indexterm><primary>Carson, Rachel</primary></indexterm>
-<indexterm><primary>Silent Sprint (Carson)</primary></indexterm>
+<indexterm><primary>Silent Spring (Carson)</primary></indexterm>
+<indexterm id='idxenvironmentalism' class='startofrange'><primary>environmentalism</primary></indexterm>
<para>
But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, which argued that
DDT, whatever its primary benefits, was also having unintended
when considering the other, more environmentally friendly ways to
solve the problems that DDT was meant to solve.
</para>
+<indexterm startref='idxmllerpaulhermann' class='endofrange'/>
<indexterm><primary>Boyle, James</primary></indexterm>
+<indexterm id='idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2' class='startofrange'><primary>copyright law</primary><secondary>innovative freedom balanced with fair compensation in</secondary></indexterm>
<para>
It is to this image precisely that Duke University law professor James
Boyle appeals when he argues that we need an <quote>environmentalism</quote> for
authors. It is an environment of creativity that we seek, and we
should be aware of our actions' effects on the environment.
</para>
+<indexterm startref='idxfarming' class='endofrange'/>
<para>
My argument, in the balance of this chapter, tries to map exactly
this effect. No doubt the technology of the Internet has had a dramatic
generally missed, the net effect of this massive increase in protection
will be devastating to the environment for creativity.
</para>
+<indexterm startref='idxcopyrightlawinnovativefreedombalancedwithfaircompensationin2' class='endofrange'/>
<para>
In a line: To kill a gnat, we are spraying DDT with consequences
for free culture that will be far more devastating than that this gnat will
be lost.
</para>
-<indexterm startref="idxddt" class='endofrange'/>
+<indexterm startref='idxddt' class='endofrange'/>
+<indexterm startref='idxinsecticideenvironmentalconsequencesof' class='endofrange'/>
+<indexterm startref='idxenvironmentalism' class='endofrange'/>
</section>
<section id="beginnings">
<title>Beginnings</title>
+<indexterm><primary>Constitution, U.S.</primary><secondary>on creative property</secondary></indexterm>
+<indexterm id='idxconstitutionuscopyrightpurposeestablishedin' class='startofrange'><primary>Constitution, U.S.</primary><secondary>copyright purpose established in</secondary></indexterm>
+<indexterm id='idxconstitutionusprogressclauseof' class='startofrange'><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>constitutional purpose of</secondary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcreativepropertyconstitutionaltraditionon2' class='startofrange'><primary>creative property</primary><secondary>constitutional tradition on</secondary></indexterm>
+<indexterm id='idxprogressclause' class='startofrange'><primary>Progress Clause</primary></indexterm>
+<indexterm><primary>copyright</primary><secondary>duration of</secondary></indexterm>
<para>
America copied English copyright law. Actually, we copied and improved
English copyright law. Our Constitution makes the purpose of <quote>creative
property</quote> rights clear; its express limitations reinforce the English
aim to avoid overly powerful publishers.
</para>
+<indexterm id='idxcongressusinconstitutionalprogressclause' class='startofrange'><primary>Congress, U.S.</primary><secondary>in constitutional Progress Clause</secondary></indexterm>
<para>
The power to establish <quote>creative property</quote> rights is granted to
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
purpose, and its purpose is a public one, not the purpose of enriching
publishers, nor even primarily the purpose of rewarding authors.
</para>
+<indexterm startref='idxcongressusinconstitutionalprogressclause' class='endofrange'/>
+<indexterm id='idxcopyrightlawasprotectionofcreators' class='startofrange'><primary>copyright law</primary><secondary>as protection of creators</secondary></indexterm>
+<indexterm id='idxcopyrightlawhistoryofamerican' class='startofrange'><primary>copyright law</primary><secondary>history of American</secondary></indexterm>
<para>
The Progress Clause expressly limits the term of copyrights. As we saw
in chapter <xref xrefstyle="select: labelnumber" linkend="founders"/>,
English, the framers reinforced that objective, by requiring that
copyrights extend <quote>to Authors</quote> only.
</para>
+<indexterm><primary>Senate, U.S.</primary></indexterm>
+<indexterm><primary>Constitution, U.S.</primary><secondary>structural checks and balances of</secondary></indexterm>
+<indexterm><primary>electoral college</primary></indexterm>
<para>
The design of the Progress Clause reflects something about the
Constitution's design in general. To avoid a problem, the framers
the constitutional frame, structured to prevent otherwise inevitable
concentrations of power.
</para>
+<indexterm startref='idxconstitutionusprogressclauseof' class='endofrange'/>
+<indexterm startref='idxprogressclause' class='endofrange'/>
<para>
I doubt the framers would recognize the regulation we call <quote>copyright</quote>
today. The scope of that regulation is far beyond anything they ever
<quote>copyright</quote> in context: We need to see how it has changed in the 210
years since they first struck its design.
</para>
+<indexterm startref='idxconstitutionuscopyrightpurposeestablishedin' class='endofrange'/>
+<indexterm startref='idxcreativepropertyconstitutionaltraditionon2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawasprotectionofcreators' class='endofrange'/>
+<indexterm><primary>copyright</primary><secondary>four regulatory modalities on</secondary></indexterm>
<para>
Some of these changes come from the law: some in light of changes
in technology, and some in light of changes in technology given a
started here:
</para>
<figure id="fig-1441">
-<title>Copyright's regulation before the Internet.</title>
-<graphic fileref="images/1331.png"></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.png"></graphic>
+<title></title>
+<graphic fileref="images/1442.svg" align="center" width="45%"></graphic>
</figure>
<para>
Let me explain how.
</section>
<section id="lawduration">
<title>Law: Duration</title>
+<indexterm id='idxcopyrightdurationof4' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcongressusoncopyrightlaws5' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcopyrightact' class='startofrange'><primary>Copyright Act (1790)</primary></indexterm>
+<indexterm><primary>creative property</primary><secondary>common law protections of</secondary></indexterm>
+<indexterm id='idxpublicdomainbalanceofuscontentin' class='startofrange'><primary>public domain</primary><secondary>balance of U.S. content in</secondary></indexterm>
<para>
When the first Congress enacted laws to protect creative property, it
faced the same uncertainty about the status of creative property that
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
uncertainty would make it hard for publishers to rely upon a public
domain to reprint and distribute works.
</para>
+<indexterm><primary>Statute of Anne (1710)</primary></indexterm>
+<indexterm id='idxlawfederalvsstate' class='startofrange'><primary>law</primary><secondary>federal vs. state</secondary></indexterm>
<para>
That uncertainty ended after Congress passed legislation granting
copyrights. Because federal law overrides any contrary state law,
that the copyrights for all English works expired, a federal statute
meant that any state copyrights expired as well.
</para>
+<indexterm id='idxcopyrightrenewabilityof' class='startofrange'><primary>copyright</primary><secondary>renewability of</secondary></indexterm>
<para>
In 1790, Congress enacted the first copyright law. It created a
federal copyright and secured that copyright for fourteen years. If
opt to renew the copyright for another fourteen years. If he did not
renew the copyright, his work passed into the public domain.
</para>
+<indexterm startref='idxcongressusoncopyrightlaws5' class='endofrange'/>
<para>
While there were many works created in the United States in the first
ten years of the Republic, only 5 percent of the works were actually
with the option of renewal for an additional fourteen years. Copyright
Act of May 31, 1790, §1, 1 stat. 124. </para></footnote>
</para>
+<indexterm startref='idxcopyrightact' class='endofrange'/>
+<indexterm startref='idxlawfederalvsstate' class='endofrange'/>
<para>
This system of renewal was a crucial part of the American system
of copyright. It assured that the maximum terms of copyright would be
<citetitle>University of Chicago Law Review</citetitle> 70 (2003): 471, 498–501, and
accompanying figures. </para></footnote>
</para>
-<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
+<indexterm startref='idxpublicdomainbalanceofuscontentin' class='endofrange'/>
<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
+<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
<para>
Even today, this structure would make sense. Most creative work
has an actual commercial life of just a couple of years. Most books fall
is to sell the books as used books; that use—because it does not
involve publication—is effectively free.
</para>
+<indexterm id='idxcongressusoncopyrightlaws6' class='startofrange'><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm id='idxcongressuscopyrighttermsextendedby' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm id='idxcopyrightlawtermextensionsin' class='startofrange'><primary>copyright law</primary><secondary>term extensions in</secondary></indexterm>
<para>
In the first hundred years of the Republic, the term of copyright was
changed once. In 1831, the term was increased from a maximum of 28
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>
Then, beginning in 1962, Congress started a practice that has defined
copyright law since. Eleven times in the last forty years, Congress
And in 1998, in the Sonny Bono Copyright Term Extension Act, Congress
extended the term of existing and future copyrights by twenty years.
</para>
+<indexterm><primary>patents</primary><secondary>in public domain</secondary></indexterm>
<para>
The effect of these extensions is simply to toll, or delay, the passing
of works into the public domain. This latest extension means that the
public domain, zero copyrights will pass into the public domain by virtue
of the expiration of a copyright term.
</para>
+<indexterm startref='idxsonnybonocopyrighttermextensionactctea' class='endofrange'/>
<para>
The effect of these extensions has been exacerbated by another,
little-noticed change in the copyright law. Remember I said that the
under protection would be those that had some continuing commercial
value.
</para>
+<indexterm><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
+<indexterm><primary>copyright</primary><secondary>of natural authors vs. corporations</secondary></indexterm>
+<indexterm><primary>corporations</primary><secondary>copyright terms for</secondary></indexterm>
<para>
The United States abandoned this sensible system in 1976. For
all works created after 1978, there was only one copyright term—the
that terms be <quote>limited,</quote> we have no evidence that anything will limit
them.
</para>
+<indexterm startref='idxcopyrightlawhistoryofamerican' class='endofrange'/>
+<indexterm startref='idxpublicdomainfuturepatentsvsfuturecopyrightsin' class='endofrange'/>
<para>
The effect of these changes on the average duration of copyright is
dramatic. In 1973, more than 85 percent of copyright owners failed to
Posner, <quote>Indefinitely Renewable Copyright,</quote> loc. cit.
</para></footnote>
</para>
+<indexterm startref='idxcopyrightdurationof4' class='endofrange'/>
+<indexterm startref='idxcopyrightrenewabilityof' class='endofrange'/>
+<indexterm startref='idxcongressusoncopyrightlaws6' class='endofrange'/>
+<indexterm startref='idxcongressuscopyrighttermsextendedby' class='endofrange'/>
+<indexterm startref='idxcopyrightlawtermextensionsin' class='endofrange'/>
<!-- PAGE BREAK 147 -->
</section>
<section id="lawscope">
<title>Law: Scope</title>
+<indexterm id='idxcopyrightscopeof' class='startofrange'><primary>copyright</primary><secondary>scope of</secondary></indexterm>
<para>
The <quote>scope</quote> of a copyright is the range of rights granted by the law.
The scope of American copyright has changed dramatically. Those
changes are not necessarily bad. But we should understand the extent
of the changes if we're to keep this debate in context.
</para>
+<indexterm><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm id='idxderivativeworkshistoricalshiftincopyrightcoverageof' class='startofrange'><primary>derivative works</primary><secondary>historical shift in copyright coverage of</secondary></indexterm>
<para>
In 1790, that scope was very narrow. Copyright covered only <quote>maps,
charts, and books.</quote> That means it didn't cover, for example, music or
more broadly, and protects works that are based in a significant way
on the initial creative work.
</para>
+<indexterm id='idxcopyrightmarkingof' class='startofrange'><primary>copyright</primary><secondary>marking of</secondary></indexterm>
+<indexterm id='idxformalities' class='startofrange'><primary>formalities</primary></indexterm>
+<indexterm id='idxcopyrightlawregistrationrequirementof' class='startofrange'><primary>copyright law</primary><secondary>registration requirement of</secondary></indexterm>
<para>
At the same time that the scope of copyright has expanded, procedural
limitations on the right have been relaxed. I've already described the
works be deposited with the government before a copyright could be
secured.
</para>
+<indexterm startref='idxderivativeworkshistoricalshiftincopyrightcoverageof' class='endofrange'/>
<para>
The reason for the registration requirement was the sensible
understanding that for most works, no copyright was required. Again,
somewhere so that it could be copied by others without locating the
original author.
</para>
+<indexterm><primary>copyright law</primary><secondary>European</secondary></indexterm>
<para>
All of these <quote>formalities</quote> were abolished in the American system when
we decided to follow European copyright law. There is no requirement
a ©; and the copyright exists whether or not you actually make a
copy available for others to copy.
</para>
+<indexterm startref='idxcopyrightmarkingof' class='endofrange'/>
+<indexterm startref='idxformalities' class='endofrange'/>
+<indexterm startref='idxcopyrightlawregistrationrequirementof' class='endofrange'/>
<para>
Consider a practical example to understand the scope of these
differences.
</para>
+<indexterm id='idxcopyrightact2' class='startofrange'><primary>Copyright Act (1790)</primary></indexterm>
<para>
If, in 1790, you wrote a book and you were one of the 5 percent who
actually copyrighted that book, then the copyright law protected you
regulation of a tiny proportion of a tiny part of the creative market in
the United States—publishers.
</para>
+<indexterm id='idxcopyrightlawonrepublishingvstransformationoforiginalwork2' class='startofrange'><primary>copyright law</primary><secondary>on republishing vs. transformation of original work</secondary></indexterm>
+<indexterm id='idxderivativeworkspiracyvs3' class='startofrange'><primary>derivative works</primary><secondary>piracy vs.</secondary></indexterm>
+<indexterm id='idxpiracyderivativeworkvs3' class='startofrange'><primary>piracy</primary><secondary>derivative work vs.</secondary></indexterm>
<para>
<!-- PAGE BREAK 149 -->
The act left other creators totally unregulated. If I copied your poem
creative activities remained free, while the activities of publishers
were restrained.
</para>
+<indexterm startref='idxcopyrightact2' class='endofrange'/>
<para>
Today the story is very different: If you write a book, your book is
automatically protected. Indeed, not just your book. Every e-mail,
right to your writings, but an exclusive right to your writings
and a large proportion of the writings inspired by them.
</para>
+<indexterm startref='idxderivativeworkspiracyvs3' class='endofrange'/>
<para>
It is this derivative right that would seem most bizarre to our
framers, though it has become second nature to us. Initially, this
</para></footnote>
These two different uses of my creative work are treated the same.
</para>
+<indexterm startref='idxpiracyderivativeworkvs3' class='endofrange'/>
<indexterm><primary>Disney, Walt</primary></indexterm>
<indexterm><primary>Mickey Mouse</primary></indexterm>
<para>
simply to make clear that this expansion is a significant change from
the rights originally granted.
</para>
+<indexterm startref='idxcopyrightscopeof' class='endofrange'/>
+<indexterm startref='idxcopyrightlawonrepublishingvstransformationoforiginalwork2' class='endofrange'/>
</section>
<section id="lawreach">
<title>Law and Architecture: Reach</title>
+<indexterm id='idxcopyrightlawcopiesascoreissueof' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxcopyrightlawscopeof' class='startofrange'><primary>copyright law</primary><secondary>scope of</secondary></indexterm>
<para>
Whereas originally the law regulated only publishers, the change in
copyright's scope means that the law today regulates publishers, users,
102) is that if there is a copy, there is a right.
</para></footnote>
</para>
+<indexterm><primary>Valenti, Jack</primary><secondary>on creative property rights</secondary></indexterm>
+<indexterm id='idxcreativepropertyotherpropertyrightsvs2' class='startofrange'><primary>creative property</primary><secondary>other property rights vs.</secondary></indexterm>
<para>
<!-- PAGE BREAK 151 -->
<quote>Copies.</quote> That certainly sounds like the obvious thing for
law. More precisely, they should not <emphasis>always</emphasis> be
the trigger for copyright law.
</para>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof' class='endofrange'/>
<para>
This is perhaps the central claim of this book, so let me take this
very slowly so that the point is not easily missed. My claim is that the
current reach of copyright was never contemplated, much less chosen,
by the legislators who enacted copyright law.
</para>
+<indexterm startref='idxcopyrightlawscopeof' class='endofrange'/>
+<indexterm startref='idxcreativepropertyotherpropertyrightsvs2' class='endofrange'/>
<para>
We can see this point abstractly by beginning with this largely
empty circle.
</para>
<figure id="fig-1521">
-<title>All potential uses of a book.</title>
-<graphic fileref="images/1521.png"></graphic>
+<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>
<indexterm id='idxcopyrightlawcopiesascoreissueof2' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
acts do not make a copy.
</para>
<figure id="fig-1531">
-<title>Examples of unregulated uses of a book.</title>
-<graphic fileref="images/1531.png"></graphic>
+<title></title>
+<graphic fileref="images/1531.png" align="center" width="40%"></graphic>
</figure>
<para>
Obviously, however, some uses of a copyrighted book are regulated
by copyright law. Republishing the book, for example, makes a copy. It
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 first
-diagram on next page).
+paradigmatic use properly regulated by copyright regulation (see
+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>
Finally, there is a tiny sliver of otherwise regulated copying uses
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.png"></graphic>
-</figure>
+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>
<para>
These are uses that themselves involve copying, but which the law
treats as unregulated because public policy demands that they remain
for public policy (and possibly First Amendment) reasons.
</para>
<figure id="fig-1542">
-<title>Unregulated copying considered <quote>fair uses.</quote></title>
-<graphic fileref="images/1542.png"></graphic>
-</figure>
-<para> </para>
-<figure id="fig-1551">
-<title>Uses that before were presumptively unregulated are now presumptively regulated.</title>
-<graphic fileref="images/1551.png"></graphic>
+<title></title>
+<graphic fileref="images/1542.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 -->
In real space, then, the possible uses of a book are divided into three
are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
</para>
<indexterm startref='idxbooksthreetypesofusesof' class='endofrange'/>
-<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxbooksoninternet' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxinternetbookson2' class='startofrange'><primary>Internet</primary><secondary>books on</secondary></indexterm>
+<indexterm><primary>fair use</primary><secondary>Internet burdens on</secondary></indexterm>
<para>
Enter the Internet—a distributed, digital network where every use
of a copyrighted work produces a copy.<footnote><para>
exclusively to category 3, fair uses, to bear the burden of this
shift.
</para>
+<indexterm startref='idxfairuse' class='endofrange'/>
+<indexterm startref='idxcopyrightlawfairuseand2' class='endofrange'/>
<para>
So let's be very specific to make this general point clear. Before the
Internet, if you purchased a book and read it ten times, there would
use—reading— could be regulated by copyright law because
none of those uses produced a copy.
</para>
-<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<indexterm id='idxebooks' class='startofrange'><primary>e-books</primary></indexterm>
<indexterm id='idxderivativeworkstechnologicaldevelopmentsand' class='startofrange'><primary>derivative works</primary><secondary>technological developments and</secondary></indexterm>
<para>
But the same book as an e-book is effectively governed by a different
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
is extraordinarily troubling with respect to transformative uses of
creative work.
</para>
+<indexterm id='idxfairuseinternetburdenson' class='startofrange'><primary>fair use</primary><secondary>Internet burdens on</secondary></indexterm>
+<indexterm id='idxcopyrightlawfairuseand3' class='startofrange'><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxderivativeworksfairusevs' class='startofrange'><primary>derivative works</primary><secondary>fair use vs.</secondary></indexterm>
<para>
Third, this shift from category 1 to category 2 puts an extraordinary
presumptively regulated, then the protections of fair use are not
enough.
</para>
-<indexterm id='idxadvertising2' class='startofrange'><primary>advertising</primary></indexterm>
+<indexterm startref='idxcopyrightusagerestrictionsattachedto' class='endofrange'/>
+<indexterm startref='idxbooksoninternet' class='endofrange'/>
+<indexterm startref='idxinternetbookson2' class='endofrange'/>
+<indexterm startref='idxebooks' class='endofrange'/>
+<indexterm startref='idxfairuseinternetburdenson' class='endofrange'/>
+<indexterm startref='idxcopyrightlawfairuseand3' class='endofrange'/>
+<indexterm startref='idxderivativeworksfairusevs' class='endofrange'/>
+<indexterm id='idxvideopipeline' class='startofrange'><primary>Video Pipeline</primary></indexterm>
+<indexterm id='idxadvertising' class='startofrange'><primary>advertising</primary></indexterm>
+<indexterm id='idxfilmindustrytraileradvertisementsof' class='startofrange'><primary>film industry</primary><secondary>trailer advertisements of</secondary></indexterm>
<para>
The case of Video Pipeline is a good example. Video Pipeline was
in the business of making <quote>trailer</quote> advertisements for movies available
before you buy the book, so, too, you would be able to sample a bit
from the movie on-line before you bought it.
</para>
+<indexterm id='idxdisneyinc2' class='startofrange'><primary>Disney, Inc.</primary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>fair use and</secondary></indexterm>
+<indexterm id='idxcopyrightlawcopiesascoreissueof3' class='startofrange'><primary>copyright law</primary><secondary>copies as core issue of</secondary></indexterm>
+<indexterm id='idxfairuselegalintimidationtacticsagainst2' class='startofrange'><primary>fair use</primary><secondary>legal intimidation tactics against</secondary></indexterm>
<para>
In 1998, Video Pipeline informed Disney and other film distributors
that it intended to distribute the trailers through the Internet
lawsuit to ask the court to declare that these rights were in fact
their rights.
</para>
+<indexterm startref='idxadvertising' class='endofrange'/>
+<indexterm startref='idxfilmindustrytraileradvertisementsof' class='endofrange'/>
+<indexterm id='idxcopyrightusagerestrictionsattachedto2' class='startofrange'><primary>copyright</primary><secondary>usage restrictions attached to</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitswillfulinfringementfindingsin' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>willful infringement findings in</secondary></indexterm>
+<indexterm><primary>willful infringement</primary></indexterm>
<para>
Disney countersued—for $100 million in damages. Those damages
were predicated upon a claim that Video Pipeline had <quote>willfully
not allowed to show clips of the films as a way of selling them without
Disney's permission.
</para>
-<indexterm startref='idxadvertising2' class='endofrange'/>
+<indexterm><primary>first-sale doctrine</primary></indexterm>
<para>
Now, you might think this is a close case, and I think the courts
would consider it a close case. My point here is to map the change
control. The technology expands the scope of effective control,
because the technology builds a copy into every transaction.
</para>
+<indexterm startref='idxvideopipeline' class='endofrange'/>
+<indexterm startref='idxdisneyinc2' class='endofrange'/>
+<indexterm startref='idxcopyrightlawcopiesascoreissueof3' class='endofrange'/>
+<indexterm startref='idxfairuselegalintimidationtacticsagainst2' class='endofrange'/>
+<indexterm startref='idxcopyrightusagerestrictionsattachedto2' class='endofrange'/>
+<indexterm startref='idxcopyrightinfringementlawsuitswillfulinfringementfindingsin' class='endofrange'/>
<indexterm><primary>Barnes & Noble</primary></indexterm>
<indexterm><primary>browsing</primary></indexterm>
+<indexterm><primary>market competition</primary></indexterm>
<para>
<!-- PAGE BREAK 158 -->
No doubt, a potential is not yet an abuse, and so the potential for
significance. This second change does not affect the reach of copyright
regulation; it affects how such regulation is enforced.
</para>
+<indexterm><primary>copyright law</primary><secondary>technology as automatic enforcer of</secondary></indexterm>
+<indexterm><primary>technology</primary><secondary>copyright enforcement controlled by</secondary></indexterm>
<para>
In the world before digital technology, it was generally the law that
controlled whether and how someone was regulated by copyright law.
your freedom.
</para>
<indexterm><primary>Casablanca</primary></indexterm>
-<indexterm id=
"idxmarxbrothers" class='startofrange'><primary>Marx Brothers</primary></indexterm>
-<indexterm id=
"idxwarnerbrothers" class='startofrange'><primary>Warner Brothers</primary></indexterm>
+<indexterm id=
'idxmarxbrothers' class='startofrange'><primary>Marx Brothers</primary></indexterm>
+<indexterm id=
'idxwarnerbrothers' class='startofrange'><primary>Warner Brothers</primary></indexterm>
<para>
There's a famous story about a battle between the Marx Brothers
and Warner Brothers. The Marxes intended to make a parody of
silly claim. This extremism was irrelevant to the real freedoms anyone
(including Warner Brothers) enjoyed.
</para>
-<indexterm id='idxbooksoninternet' class='startofrange'><primary>books</primary><secondary>on Internet</secondary></indexterm>
+<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
shame. Code would not get the humor of the Marx Brothers. The
consequence of that is not at all funny.
</para>
-<indexterm startref="idxwarnerbrothers" class='endofrange'/>
-<indexterm startref="idxmarxbrothers" class='endofrange'/>
+<indexterm startref='idxwarnerbrothers' class='endofrange'/>
+<indexterm startref='idxmarxbrothers' class='endofrange'/>
-<indexterm id=
"idxadobeebookreader" class='startofrange'><primary>Adobe eBook Reader</primary></indexterm>
+<indexterm id=
'idxadobeebookreader' class='startofrange'><primary>Adobe eBook Reader</primary></indexterm>
<para>
Consider the life of my Adobe eBook Reader.
</para>
technology, and the publisher delivers the content by using the
technology.
</para>
+<figure id="fig-example-adobe-ebook-reader" float="1">
+<title></title>
+<graphic fileref="images/example-adobe-ebook-reader.png" align="center" width="50%"></graphic>
+</figure>
<para>
-On the next page 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-1611">
-<title>Picture of an old version of Adobe eBook Reader</title>
-<graphic fileref="images/1611.png"></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>
-<graphic fileref="images/1612.png"></graphic>
+<title></title>
+<graphic fileref="images/1612.png" align="center" width="50%"></graphic>
</figure>
<para>
<!-- PAGE BREAK 161 -->
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"></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>
-<graphic fileref="images/1622.png"></graphic>
+<title></title>
+<graphic fileref="images/1622.png" align="center" width="50%"></graphic>
</figure>
<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
<indexterm><primary>Lessig, Lawrence</primary></indexterm>
</para>
<!-- PAGE BREAK 162 -->
<figure id="fig-1631">
-<title>List of the permissions for <quote>The Future of Ideas</quote>.</title>
-<graphic fileref="images/1631.png"></graphic>
+<title></title>
+<graphic fileref="images/1631.png" align="center" width="50%"></graphic>
</figure>
<para>
No copying, no printing, and don't you dare try to listen to this book!
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>
-<graphic fileref="images/1641.png"></graphic>
+<title></title>
+<graphic fileref="images/1641.png" align="center" width="50%"></graphic>
</figure>
-<beginpage pagenum="164"/>
+<!-- PAGE BREAK 164-->
<para>
Here was a public domain children's book that you were not allowed to
copy, not allowed to lend, not allowed to give, and, as the
control. That incentive is understandable, yet what it creates is
often crazy.
</para>
-<indexterm startref="idxadobeebookreader" class='endofrange'/>
-<indexterm startref='idxbooksoninternet' class='endofrange'/>
+<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
story of mine that makes the same point.
</para>
-<indexterm id=
"idxaibo1" class='startofrange'><primary>Aibo robotic dog</primary></indexterm>
-<indexterm id=
"idxroboticdog1" class='startofrange'><primary>robotic dog</primary></indexterm>
-<indexterm id=
"idxsonyaibo1" class='startofrange'><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
+<indexterm id=
'idxaibo1' class='startofrange'><primary>Aibo robotic dog</primary></indexterm>
+<indexterm id=
'idxroboticdog1' class='startofrange'><primary>robotic dog</primary></indexterm>
+<indexterm id=
'idxsonyaibo1' class='startofrange'><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
<para>
Consider the robotic dog made by Sony named <quote>Aibo.</quote> The Aibo
learns tricks, cuddles, and follows you around. It eats only electricity
bit of tinkering that turned the dog into a more talented creature
than Sony had built.
</para>
-<indexterm startref="idxsonyaibo1" class='endofrange'/>
-<indexterm startref="idxroboticdog1" class='endofrange'/>
-<indexterm startref="idxaibo1" class='endofrange'/>
+<indexterm startref='idxsonyaibo1' class='endofrange'/>
+<indexterm startref='idxroboticdog1' class='endofrange'/>
+<indexterm startref='idxaibo1' class='endofrange'/>
<para>
I've told this story in many contexts, both inside and outside the
United States. Once I was asked by a puzzled member of the audience,
weakness in the SDMI system, and why SDMI would not, as presently
constituted, succeed.
</para>
-<indexterm id=
"idxaibo2" class='startofrange'><primary>Aibo robotic dog</primary></indexterm>
-<indexterm id=
"idxroboticdog2" class='startofrange'><primary>robotic dog</primary></indexterm>
-<indexterm id=
"idxsonyaibo2" class='startofrange'><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
+<indexterm id=
'idxaibo2' class='startofrange'><primary>Aibo robotic dog</primary></indexterm>
+<indexterm id=
'idxroboticdog2' class='startofrange'><primary>robotic dog</primary></indexterm>
+<indexterm id=
'idxsonyaibo2' class='startofrange'><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
<para>
What links these two, aibopet.com and Felten, is the letters they
then received. Aibopet.com received a letter from Sony about the
anti-circumvention provisions of the Digital Millennium Copyright Act.
</para>
</blockquote>
-<indexterm startref="idxsonyaibo2" class='endofrange'/>
-<indexterm startref="idxroboticdog2" class='endofrange'/>
-<indexterm startref="idxaibo2" class='endofrange'/>
+<indexterm startref='idxsonyaibo2' class='endofrange'/>
+<indexterm startref='idxroboticdog2' class='endofrange'/>
+<indexterm startref='idxaibo2' class='endofrange'/>
<para>
And though an academic paper describing the weakness in a system
of encryption should also be perfectly legal, Felten received a letter
the VCR responsible.
</para>
<para>
-This led Conrad to draw the cartoon below, 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">
-<title>VCR/handgun cartoon.</title>
-<graphic fileref="images/1711.png"></graphic>
-</figure>
<indexterm><primary>Conrad, Paul</primary></indexterm>
<para>
The obvious point of Conrad's cartoon is the weirdness of a world
owned by separate media companies. Now, the media is increasingly
owned by only a few companies. Indeed, after the changes that the FCC
announced in June 2003, most expect that within a few years, we will
-live in a world where just three companies control more than percent
+live in a world where just three companies control more than 85 percent
of the media.
</para>
<para>
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
framers sought to protect. Indeed, it is a market that is quite well
protected— by the market.
</para>
+<indexterm><primary>Fallows, James</primary></indexterm>
<para>
Concentration in size alone is one thing. The more invidious
change is in the nature of that concentration. As author James Fallows
put it in a recent article about Rupert Murdoch,
-<indexterm><primary>Fallows, James</primary></indexterm>
</para>
<blockquote>
<para>
</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/1761.png"></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
these issues.
</para>
<indexterm id='idxadvertising3' class='startofrange'><primary>advertising</primary></indexterm>
+<indexterm id='idxcommercials' class='startofrange'><primary>commercials</primary></indexterm>
+<indexterm id='idxtelevisionadvertisingon' class='startofrange'><primary>television</primary><secondary>advertising on</secondary></indexterm>
+<indexterm><primary>Nick and Norm anti-drug campaign</primary></indexterm>
<para>
Beginning in 1998, the Office of National Drug Control Policy launched
a media campaign as part of the <quote>war on drugs.</quote> The campaign produced
the world to help you get your message out. Can you be sure your
message will be heard then?
</para>
+<indexterm><primary>Constitution, U.S.</primary><secondary>First Amendment to</secondary></indexterm>
+<indexterm><primary>First Amendment</primary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>on television advertising bans</secondary></indexterm>
+<indexterm><primary>television</primary><secondary>controversy avoided by</secondary></indexterm>
<para>
No. You cannot. Television stations have a general policy of avoiding
<quote>controversial</quote> ads. Ads sponsored by the government are deemed
opportunity to present its case. And the courts will defend the
rights of the stations to be this biased.<footnote><para>
<!-- f34 -->
+<indexterm><primary>ABC</primary></indexterm>
+<indexterm><primary>Comcast</primary></indexterm>
+<indexterm><primary>Marijuana Policy Project</primary></indexterm>
+<indexterm><primary>NBC</primary></indexterm>
+<indexterm><primary>WJOA</primary></indexterm>
+<indexterm><primary>WRC</primary></indexterm>
+<indexterm><primary>advertising</primary></indexterm>
The Marijuana Policy Project, in February 2003, sought to place ads
that directly responded to the Nick and Norm series on stations within
the Washington, D.C., area. Comcast rejected the ads as <quote>against
agreed to run the ads and accepted payment to do so, but later decided
not to run the ads and returned the collected fees. Interview with
Neal Levine, 15 October 2003. These restrictions are, of course, not
-limited to drug policy. See, for example, Nat Ives, <quote>On the Issue of
-an Iraq War, Advocacy Ads Meet with Rejection from TV Networks,</quote> <citetitle>New
-York Times</citetitle>, 13 March 2003, C4. Outside of election-related air time
-there is very little that the FCC or the courts are willing to do to
-even the playing field. For a general overview, see Rhonda Brown, <quote>Ad
-Hoc Access: The Regulation of Editorial Advertising on Television and
-Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6 (1988): 449–79, and for a
-more recent summary of the stance of the FCC and the courts, see
-<citetitle>Radio-Television News Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872
+limited to drug policy. See, for example, Nat Ives, <quote>On the
+Issue of an Iraq War, Advocacy Ads Meet with Rejection from TV
+Networks,</quote> <citetitle>New York Times</citetitle>, 13 March
+2003, C4. Outside of election-related air time there is very little
+that the FCC or the courts are willing to do to even the playing
+field. For a general overview, see Rhonda Brown, <quote>Ad Hoc Access:
+The Regulation of Editorial Advertising on Television and
+Radio,</quote> <citetitle>Yale Law and Policy Review</citetitle> 6
+(1988): 449–79, and for a more recent summary of the stance of
+the FCC and the courts, see <citetitle>Radio-Television News Directors
+Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d 872
(D.C. Cir. 1999). Municipal authorities exercise the same authority as
the networks. In a recent example from San Francisco, the San
Francisco transit authority rejected an ad that criticized its Muni
-diesel buses. Phillip Matier and Andrew Ross, <quote>Antidiesel Group Fuming
-After Muni Rejects Ad,</quote> SFGate.com, 16 June 2003, available at
-<ulink url="http://free-culture.cc/notes/">link #32</ulink>. The ground
-was that the criticism was <quote>too controversial.</quote>
-<indexterm><primary>ABC</primary></indexterm>
-<indexterm><primary>Comcast</primary></indexterm>
-<indexterm><primary>Marijuana Policy Project</primary></indexterm>
-<indexterm><primary>NBC</primary></indexterm>
-<indexterm><primary>WJOA</primary></indexterm>
-<indexterm><primary>WRC</primary></indexterm>
-<indexterm><primary>advertising</primary></indexterm>
+diesel buses. Phillip Matier and Andrew Ross, <quote>Antidiesel Group
+Fuming After Muni Rejects Ad,</quote> SFGate.com, 16 June 2003,
+available at <ulink url="http://free-culture.cc/notes/">link
+#32</ulink>. The ground was that the criticism was <quote>too
+controversial.</quote>
</para></footnote>
</para>
+<indexterm startref='idxcommercials' class='endofrange'/>
+<indexterm startref='idxtelevisionadvertisingon' class='endofrange'/>
<para>
I'd be happy to defend the networks' rights, as well—if we lived
in a media market that was truly diverse. But concentration in the
</row>
<row>
<entry>Noncommercial</entry>
- <entry>©/Free</entry>
+ <entry>© / Free</entry>
<entry>Free</entry>
</row>
</tbody>
notwithstanding, historically, this property right (as with all
property rights<footnote><para>
<!-- f36 -->
+<indexterm><primary>legal realist movement</primary></indexterm>
It was the single most important contribution of the legal realist
movement to demonstrate that all property rights are always crafted to
balance public and private interests. See Thomas C. Grey, <quote>The
Disintegration of Property,</quote> in <citetitle>Nomos XXII: Property</citetitle>, J. Roland
Pennock and John W. Chapman, eds. (New York: New York University
Press, 1980).
-<indexterm><primary>legal realist movement</primary></indexterm>
</para></footnote>)
has been crafted to balance the important need to give authors and
artists incentives with the equally important need to assure access to
limits on the scope of the interests protected by <quote>property.</quote> The very
birth of <quote>copyright</quote> as a statutory right recognized those limits, by
granting copyright owners protection for a limited time only (the
-story of chapter 6). The tradition of <quote>fair use</quote> is animated by a
-similar concern that is increasingly under strain as the costs of
-exercising any fair use right become unavoidably high (the story of
-chapter 7). Adding
+story of chapter <xref xrefstyle="select: labelnumber"
+linkend="founders"/>). The tradition of <quote>fair use</quote> is
+animated by a similar concern that is increasingly under strain as the
+costs of exercising any fair use right become unavoidably high (the
+story of chapter <xref xrefstyle="select: labelnumber"
+linkend="recorders"/>). Adding
<!-- PAGE BREAK 184 -->
statutory rights where markets might stifle innovation is another
-familiar limit on the property right that copyright is (chapter
-8). And granting archives and libraries a broad freedom to collect,
-claims of property notwithstanding, is a crucial part of guaranteeing
-the soul of a culture (chapter 9). Free cultures, like free markets,
-are built with property. But the nature of the property that builds a
-free culture is very different from the extremist vision that
-dominates the debate today.
+familiar limit on the property right that copyright is (chapter <xref
+xrefstyle="select: labelnumber" linkend="transformers"/>). And
+granting archives and libraries a broad freedom to collect, claims of
+property notwithstanding, is a crucial part of guaranteeing the soul
+of a culture (chapter <xref xrefstyle="select: labelnumber"
+linkend="collectors"/>). Free cultures, like free markets, are built
+with property. But the nature of the property that builds a free
+culture is very different from the extremist vision that dominates the
+debate today.
</para>
<para>
Free culture is increasingly the casualty in this war on piracy. In
</chapter>
</part>
<part id="c-puzzles">
-<title>PUZZLES</title>
+<title>Puzzles</title>
<!-- PAGE BREAK 186 -->
<chapter label="11" id="chimera">
-<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>
+<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>
<para>
<emphasis role='strong'>In a well-known</emphasis> short story by
<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 -->
certainty that she was not the person whose blood was at the
scene. …</quote>
</para>
-<indexterm startref="idxtcotb" class='endofrange'/>
-<indexterm startref="idxwells" class="endofrange"/>
+<indexterm startref='idxtcotb' class='endofrange'/>
+<indexterm startref='idxwells' class="endofrange"/>
<para>
Before I had read about chimeras, I would have said they were
impossible. A single person can't have two sets of DNA. The very idea
</para></footnote>
</para>
-<indexterm startref="idxchimera" class='endofrange'/>
+<indexterm startref='idxchimera' class='endofrange'/>
<para>
Alternatively, we could respond to file sharing the way many kids act
as though we've responded. We could totally legalize it. Let there be
<!-- PAGE BREAK 192 -->
</chapter>
<chapter label="12" id="harms">
-<title>CHAPTER TWELVE: 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,
work spread across the Internet. But as the law is currently crafted, this
work is presumptively illegal.
</para>
-<indexterm><primary>Worldcom</primary></indexterm>
+<indexterm><primary>WorldCom</primary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>exaggerated claims of</secondary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>in recording industry</secondary></indexterm>
+<indexterm><primary>doctors malpractice claims against</primary></indexterm>
+<indexterm><primary>Jordan, Jesse</primary></indexterm>
<para>
That presumption will increasingly chill creativity, as the
examples of extreme penalties for vague infringements continue to
proliferate. It is impossible to get a clear sense of what's allowed
and what's not, and at the same time, the penalties for crossing the
line are astonishingly harsh. The four students who were threatened
-by the RIAA ( Jesse Jordan of chapter 3 was just one) were threatened
-with a $98 billion lawsuit for building search engines that permitted
-songs to be copied. Yet World-Com—which defrauded investors of
-$11 billion, resulting in a loss to investors in market capitalization
-of over $200 billion—received a fine of a mere $750
+by the RIAA (Jesse Jordan of chapter <xref xrefstyle="select:
+labelnumber" linkend="catalogs"/> was just one) were threatened with a
+$98 billion lawsuit for building search engines that permitted songs
+to be copied. Yet World-Com—which defrauded investors of $11
+billion, resulting in a loss to investors in market capitalization of
+over $200 billion—received a fine of a mere $750
million.<footnote><para>
<!-- f1. -->
See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at WorldCom</citetitle>
the settlement, see MCI press release, <quote>MCI Wins U.S. District Court
Approval for SEC Settlement</quote> (7 July 2003), available at
<ulink url="http://free-culture.cc/notes/">link #37</ulink>.
-<indexterm><primary>Worldcom</primary></indexterm>
+<indexterm><primary>WorldCom</primary></indexterm>
</para></footnote>
And under legislation being pushed in Congress right now, a doctor who
negligently removes the wrong leg in an operation would be liable for
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
</section>
<section id="innovators">
<title>Constraining Innovators</title>
+<indexterm id='idxcopyrightlawinnovationhamperedby' class='startofrange'><primary>copyright law</primary><secondary>innovation hampered by</secondary></indexterm>
+<indexterm id='idxinnovationindustryestablishmentopposedto2' class='startofrange'><primary>innovation</primary><secondary>industry establishment opposed to</secondary></indexterm>
+<indexterm id='idxregulationasestablishmentprotectionism2' class='startofrange'><primary>regulation</primary><secondary>as establishment protectionism</secondary></indexterm>
<para>
The story of the last section was a crunchy-lefty
story—creativity quashed, artists who can't speak, yada yada
seems to be just about everything. And if you think that, you might
think there's little in this story to worry you.
</para>
+<indexterm id='idxmarketconstraints2' class='startofrange'><primary>market constraints</primary></indexterm>
<para>
But there's an aspect of this story that is not lefty in any sense.
Indeed, it is an aspect that could be written by the most extreme
promarket ideologue. And if you're one of these sorts (and a special
-one at that, 188 pages into a book like this), then you can see this
-other aspect by substituting <quote>free market</quote> every place I've spoken of
-<quote>free culture.</quote> The point is the same, even if the interests
-affecting culture are more fundamental.
+one at that, <xref xrefstyle="select: pagenumber"
+linkend="innovators"/> pages into a book like this), then you
+can see this other aspect by substituting <quote>free market</quote>
+every place I've spoken of <quote>free culture.</quote> The point is
+the same, even if the interests affecting culture are more
+fundamental.
</para>
-<indexterm><primary>market constraints</primary></indexterm>
<para>
The charge I've been making about the regulation of culture is the
same charge free marketers make about regulating markets. Everyone, of
simply enables the powerful industries of today to protect themselves
against the competitors of tomorrow.
</para>
+<indexterm startref='idxmarketconstraints2' class='endofrange'/>
<indexterm><primary>Barry, Hank</primary></indexterm>
+<indexterm><primary>venture capitalists</primary></indexterm>
<para>
This is the single most dramatic effect of the shift in regulatory
<!-- PAGE BREAK 198 -->
lesson. That lesson—what former Napster CEO Hank Barry calls a
<quote>nuclear pall</quote> that has fallen over the Valley—has been learned.
</para>
+<indexterm><primary>Future of Ideas, The (Lessig)</primary></indexterm>
+<indexterm><primary>Lessig, Lawrence</primary></indexterm>
<para>
Consider one example to make the point, a story whose beginning
I told in <citetitle>The Future of Ideas</citetitle> and which has progressed in a way that
even I (pessimist extraordinaire) would never have predicted.
</para>
+<indexterm id='idxmpcom' class='startofrange'><primary>MP3.com</primary></indexterm>
+<indexterm id='idxmympcom' class='startofrange'><primary>my.mp3.com</primary></indexterm>
<indexterm><primary>Roberts, Michael</primary></indexterm>
<para>
In 1997, Michael Roberts launched a company called MP3.com. MP3.com
copies, it was 50,000 copies directed at giving customers something
they had already bought.
</para>
-<indexterm id="idxvivendiuniversal" class='startofrange'><primary>Vivendi Universal</primary></indexterm>
+<indexterm id='idxvivendiuniversal' class='startofrange'><primary>Vivendi Universal</primary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>distribution technology targeted in</secondary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>exaggerated claims of</secondary></indexterm>
+<indexterm id='idxcopyrightinfringementlawsuitsinrecordingindustry3' class='startofrange'><primary>copyright infringement lawsuits</primary><secondary>in recording industry</secondary></indexterm>
+<indexterm><primary>recording industry</primary><secondary>copyright infringement lawsuits of</secondary></indexterm>
+<indexterm><primary>Recording Industry Association of America (RIAA)</primary><secondary>copyright infringement lawsuits filed by</secondary></indexterm>
+<indexterm><primary>regulation</primary><secondary>outsize penalties of</secondary></indexterm>
<para>
Nine days after MP3.com launched its service, the five major labels,
headed by the RIAA, brought a lawsuit against MP3.com. MP3.com settled
dared to suggest that the law was less restrictive than the labels
demanded.
</para>
+<indexterm startref='idxvivendiuniversal' class='endofrange'/>
<para>
The clear purpose of this lawsuit (which was settled for an
unspecified amount shortly after the story was no longer covered in
you who believe the law should be less restrictive should realize that
such a view of the law will cost you and your firm dearly.
</para>
-<indexterm startref="idxvivendiuniversal" class='endofrange'/>
+<indexterm startref='idxmpcom' class='endofrange'/>
+<indexterm startref='idxmympcom' class='endofrange'/>
+<indexterm startref='idxcopyrightinfringementlawsuitsinrecordingindustry3' class='endofrange'/>
+<indexterm><primary>Barry, Hank</primary></indexterm>
+<indexterm><primary>copyright infringement lawsuits</primary><secondary>distribution technology targeted in</secondary></indexterm>
+<indexterm id='idxbmw' class='startofrange'><primary>BMW</primary></indexterm>
+<indexterm id='idxcarsmpsoundsystemsin' class='startofrange'><primary>cars, MP3 sound systems in</primary></indexterm>
+<indexterm><primary>EMI</primary></indexterm>
<indexterm><primary>Hummer, John</primary></indexterm>
<indexterm><primary>Barry, Hank</primary></indexterm>
<indexterm><primary>Hummer Winblad</primary></indexterm>
-<indexterm><primary>EMI</primary></indexterm>
+<indexterm><primary>MP3 players</primary></indexterm>
+<indexterm><primary>Napster</primary><secondary>venture capital for</secondary></indexterm>
+<indexterm id='idxneedlemanrafe' class='startofrange'><primary>Needleman, Rafe</primary></indexterm>
<indexterm><primary>Universal Music Group</primary></indexterm>
+<indexterm><primary>venture capitalists</primary></indexterm>
<para>
This strategy is not just limited to the lawyers. In April 2003,
Universal and EMI brought a lawsuit against Hummer Winblad, the
venture capital firm (VC) that had funded Napster at a certain stage of
-its development, its cofounder ( John Hummer), and general partner
+its development, its cofounder (John Hummer), and general partner
(Hank Barry).<footnote><para>
<!-- f4. -->
See Joseph Menn, <quote>Universal, EMI Sue Napster Investor,</quote> <citetitle>Los Angeles
discussion with BMW:
</para>
<blockquote>
-<indexterm><primary>BMW</primary></indexterm>
-<indexterm><primary>cars, MP3 sound system in</primary></indexterm>
<para>
I asked why, with all the storage capacity and computer power in
the car, there was no way to play MP3 files. I was told that BMW
</para></footnote>
</para>
</blockquote>
+<indexterm startref='idxbmw' class='endofrange'/>
+<indexterm startref='idxcarsmpsoundsystemsin' class='endofrange'/>
+<indexterm startref='idxneedlemanrafe' class='endofrange'/>
<para>
This is the world of the mafia—filled with <quote>your money or your
life</quote> offers, governed in the end not by courts but by the threats
competition. Yet the effect of the law today is to stifle just this
kind of competition. The effect is to produce an overregulated
culture, just as the effect of too much control in the market is to
-produce an overregulatedregulated market.
+produce an overregulated-regulated market.
</para>
<para>
The building of a permission culture, rather than a free culture, is
</para>
<indexterm><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
<indexterm><primary>VCRs</primary></indexterm>
+<indexterm><primary>statutory licenses</primary></indexterm>
+<indexterm><primary>copyright law</primary><secondary>statutory licenses in</secondary></indexterm>
<para>
As I described in chapter <xref xrefstyle="select: labelnumber"
linkend="property-i"/>, despite this feature of copyright as
<!-- f9. -->
Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst,
N.Y.: Prometheus Books, 2001).
+<indexterm><primary>Digital Copyright (Litman)</primary></indexterm>
<indexterm><primary>Litman, Jessica</primary></indexterm>
</para></footnote>
-overall this history of copyright is not bad. As chapter 10 details,
+overall this history of copyright is not bad. As chapter
+<xref xrefstyle="select: labelnumber" linkend="property-i"/> details,
when new technologies have come along, Congress has struck a balance
to assure that the new is protected from the old. Compulsory, or
statutory, licenses have been one part of that strategy. Free use (as
creators, both the courts and Congress have imposed legal restrictions
that will have the effect of smothering the new to benefit the old.
</para>
+<indexterm id='idxinternetradioon' class='startofrange'><primary>Internet</primary><secondary>radio on</secondary></indexterm>
+<indexterm id='idxradiooninternet' class='startofrange'><primary>radio</primary><secondary>on Internet</secondary></indexterm>
<para>
The response by the courts has been fairly universal.<footnote><para>
<!-- f10. -->
here.<footnote><para>
<!-- f11. -->
<indexterm><primary>Tauzin, Billy</primary></indexterm>
+<indexterm><primary>Berman, Howard L.</primary></indexterm>
+<indexterm><primary>Hollings, Fritz</primary></indexterm>
+<indexterm><primary>broadcast flag</primary></indexterm>
For example, in July 2002, Representative Howard Berman introduced the
Peer-to-Peer Piracy Prevention Act (H.R. 5211), which would immunize
copyright holders from liability for damage done to computers when the
Digital Media in a Post-Napster World,</quote> 27 June 2003, 33–34,
available at
<ulink url="http://free-culture.cc/notes/">link #44</ulink>.
-<indexterm><primary>Berman, Howard L.</primary></indexterm>
-<indexterm><primary>Hollings, Fritz</primary></indexterm>
-<indexterm><primary>broadcast flag</primary></indexterm>
</para></footnote>
But there is one example that captures the flavor of them all. This is
the story of the demise of Internet radio.
</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
question we should ask is, what copyright rules would govern Internet
radio?
</para>
-<indexterm id='idxartistspayments2' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm id='idxartistsrecordingindustrypaymentsto3' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>on copyright laws</secondary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>on radio</secondary></indexterm>
+<indexterm><primary>Congress, U.S.</primary><secondary>on recording industry</secondary></indexterm>
+<indexterm id='idxrecordingindustryartistremunerationin3' class='startofrange'><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
+<indexterm id='idxrecordingindustryradiobroadcastand2' class='startofrange'><primary>recording industry</primary><secondary>radio broadcast and</secondary></indexterm>
+<indexterm id='idxrecordingindustryinternetradiohamperedby' class='startofrange'><primary>recording industry</primary><secondary>Internet radio hampered by</secondary></indexterm>
+<indexterm id='idxrecordingindustryassociationofamericariaaoninternetradiofees' class='startofrange'><primary>Recording Industry Association of America (RIAA)</primary><secondary>on Internet radio fees</secondary></indexterm>
+<indexterm id='idxrecordingindustryassociationofamericariaalobbyingpowerof' class='startofrange'><primary>Recording Industry Association of America (RIAA)</primary><secondary>lobbying power of</secondary></indexterm>
<para>
But here the power of the lobbyists is reversed. Internet radio is a
new industry. The recording artists, on the other hand, have a very
A regular radio station broadcasting the same content would pay no
equivalent fee.
</para>
-<indexterm startref='idxartistspayments2' class='endofrange'/>
+<indexterm startref='idxartistsrecordingindustrypaymentsto3' class='endofrange'/>
+<indexterm startref='idxrecordingindustryartistremunerationin3' class='endofrange'/>
+<indexterm startref='idxrecordingindustryradiobroadcastand2' class='endofrange'/>
+<indexterm startref='idxrecordingindustryassociationofamericariaaoninternetradiofees' class='endofrange'/>
+<indexterm startref='idxrecordingindustryassociationofamericariaalobbyingpowerof' class='endofrange'/>
<para>
The burden is not financial only. Under the original rules that were
proposed, an Internet radio station (but not a terrestrial radio
the country in which the user received the transmissions.
</para></listitem>
</orderedlist>
-
+<indexterm><primary>Library of Congress</primary></indexterm>
<para>
The Librarian of Congress eventually suspended these reporting
requirements, pending further study. And he also changed the original
</para>
<indexterm><primary>Real Networks</primary></indexterm>
<indexterm id='idxalbenalex2' class='startofrange'><primary>Alben, Alex</primary></indexterm>
+<indexterm id='idxrecordingindustryassociationofamericariaaoninternetradiofees2' class='startofrange'><primary>Recording Industry Association of America (RIAA)</primary><secondary>on Internet radio fees</secondary></indexterm>
+<indexterm id='idxartistsrecordingindustrypaymentsto4' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
+<indexterm id='idxrecordingindustryartistremunerationin4' class='startofrange'><primary>recording industry</primary><secondary>artist remuneration in</secondary></indexterm>
<para>
In a rare bit of candor, one RIAA expert admitted what seemed obvious
to everyone at the time. As Alex Alben, vice president for Public
</para>
</blockquote>
<indexterm startref='idxalbenalex2' class='endofrange'/>
+<indexterm startref='idxrecordingindustryassociationofamericariaaoninternetradiofees2' class='endofrange'/>
+<indexterm startref='idxartistsrecordingindustrypaymentsto4' class='endofrange'/>
+<indexterm startref='idxrecordingindustryartistremunerationin4' class='endofrange'/>
<para>
Translation: The aim is to use the law to eliminate competition, so
that this platform of potentially immense competition, which would
practically no one, on either the right or the left, who is doing anything
effective to prevent it.
</para>
+<indexterm startref='idxcopyrightlawinnovationhamperedby' class='endofrange'/>
+<indexterm startref='idxinnovationindustryestablishmentopposedto2' class='endofrange'/>
+<indexterm startref='idxregulationasestablishmentprotectionism2' class='endofrange'/>
+<indexterm startref='idxinternetradioon' class='endofrange'/>
+<indexterm startref='idxradiooninternet' class='endofrange'/>
+<indexterm startref='idxrecordingindustryinternetradiohamperedby' class='endofrange'/>
</section>
<section id="corruptingcitizens">
<title>Corrupting Citizens</title>
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>CHAPTER THIRTEEN: Eldred</title>
-<indexterm id="idxhawthornenathaniel" class='startofrange'><primary>Hawthorne, Nathaniel</primary></indexterm>
+<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>
<emphasis role='strong'>In 1995</emphasis>, a father was frustrated
that his daughters didn't seem to like Hawthorne. No doubt there was
Eldred thought, with links to pictures and explanatory text, would
make this nineteenth-century author's work come alive.
</para>
+<indexterm id='idxlibrariesofpublicdomainliterature' class='startofrange'><primary>libraries</primary><secondary>of public-domain literature</secondary></indexterm>
+<indexterm id='idxpublicdomainlibraryofworksderivedfrom' class='startofrange'><primary>public domain</primary><secondary>library of works derived from</secondary></indexterm>
<para>
It didn't work—at least for his daughters. They didn't find
Hawthorne any more interesting than before. But Eldred's experiment
many others, into a form more accessible—technically
accessible—today.
</para>
+<indexterm><primary>Scarlet Letter, The (Hawthorne)</primary></indexterm>
<para>
Eldred's freedom to do this with Hawthorne's work grew from the same
source as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed into the
at least as important to protect the Eldreds of the world as to
protect noncommercial pornographers.</para></footnote>
</para>
+<indexterm id='idxcongressuscopyrighttermsextendedby2' class='startofrange'><primary>Congress, U.S.</primary><secondary>copyright terms extended by</secondary></indexterm>
+<indexterm id='idxcopyrightdurationof6' class='startofrange'><primary>copyright</primary><secondary>duration of</secondary></indexterm>
+<indexterm id='idxcopyrightlawtermextensionsin2' class='startofrange'><primary>copyright law</primary><secondary>term extensions in</secondary></indexterm>
+<indexterm><primary>Frost, Robert</primary></indexterm>
+<indexterm><primary>New Hampshire (Frost)</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>in public domain</secondary></indexterm>
+<indexterm id='idxpatentsfuturepatentsvsfuturecopyrightsin' class='startofrange'><primary>patents</primary><secondary>future patents vs. future copyrights in</secondary></indexterm>
<para>
As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's
collection of poems <citetitle>New Hampshire</citetitle> was slated to
if Congress extends the term again). By contrast, in the same period,
more than 1 million patents will pass into the public domain.
</para>
+<indexterm startref='idxlibrariesofpublicdomainliterature' class='endofrange'/>
+<indexterm startref='idxpublicdomainlibraryofworksderivedfrom' class='endofrange'/>
<indexterm><primary>Bono, Mary</primary></indexterm>
<indexterm><primary>Bono, Sonny</primary></indexterm>
+<indexterm id='idxcopyrightinperpetuity4' class='startofrange'><primary>copyright</primary><secondary>in perpetuity</secondary></indexterm>
+<indexterm id='idxsonnybonocopyrighttermextensionactctea2' class='startofrange'><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary></indexterm>
<para>
<!-- PAGE BREAK 222 -->
<!-- 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
forever less one day. Perhaps the Committee may look at that next
Congress,</quote> 144 Cong. Rec. H9946, 9951-2 (October 7, 1998).
</para></footnote>
-
</para>
+<indexterm startref='idxpatentsfuturepatentsvsfuturecopyrightsin' class='endofrange'/>
+<indexterm><primary>copyright law</primary><secondary>felony punishment for infringement of</secondary></indexterm>
+<indexterm><primary>NET (No Electronic Theft) Act (1998)</primary></indexterm>
+<indexterm><primary>No Electronic Theft (NET) Act (1998)</primary></indexterm>
+<indexterm><primary>peer-to-peer (p2p) file sharing</primary><secondary>felony punishments for</secondary></indexterm>
<para>
Eldred decided to fight this law. He first resolved to fight it through
civil disobedience. In a series of interviews, Eldred announced that he
complained. This was a dangerous strategy for a disabled programmer
to undertake.
</para>
+<indexterm startref='idxsonnybonocopyrighttermextensionactctea2' class='endofrange'/>
+<indexterm id='idxcongressusconstitutionalpowersof' class='startofrange'><primary>Congress, U.S.</primary><secondary>constitutional powers of</secondary></indexterm>
+<indexterm id='idxconstitutionusprogressclauseof2' class='startofrange'><primary>Constitution, U.S.</primary><secondary>Progress Clause of</secondary></indexterm>
+<indexterm id='idxprogressclause2' class='startofrange'><primary>Progress Clause</primary></indexterm>
+<indexterm id='idxlessiglawrenceeldredcaseinvolvementof' class='startofrange'><primary>Lessig, Lawrence</primary><secondary>Eldred case involvement of</secondary></indexterm>
<para>
It was here that I became involved in Eldred's battle. I was a
constitutional
their … Writings. …
</para>
</blockquote>
+<indexterm startref='idxeldrederic' class='endofrange'/>
<para>
As I've described, this clause is unique within the power-granting
clause of Article I, section 8 of our Constitution. Every other clause
are also specific— by <quote>securing</quote> <quote>exclusive Rights</quote> (i.e.,
copyrights) <quote>for limited Times.</quote>
</para>
+<indexterm startref='idxconstitutionusprogressclauseof2' class='endofrange'/>
+<indexterm startref='idxprogressclause2' class='endofrange'/>
+<indexterm startref='idxlessiglawrenceeldredcaseinvolvementof' class='endofrange'/>
<indexterm><primary>Jaszi, Peter</primary></indexterm>
<para>
In the past forty years, Congress has gotten into the practice of
what the Constitution plainly forbids—perpetual terms <quote>on the
installment plan,</quote> as Professor Peter Jaszi so nicely put it.
</para>
+<indexterm startref='idxcopyrightinperpetuity4' class='endofrange'/>
+<indexterm startref='idxcongressusconstitutionalpowersof' class='endofrange'/>
+<indexterm><primary>Lessig, Lawrence</primary><secondary>Eldred case involvement of</secondary></indexterm>
<para>
As an academic, my first response was to hit the books. I remember
sitting late at the office, scouring on-line databases for any serious
<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>
they could extend it once, they would extend it again and again and
again.
</para>
+<indexterm startref='idxcongressuscopyrighttermsextendedby2' class='endofrange'/>
+<indexterm startref='idxcopyrightdurationof6' class='endofrange'/>
+<indexterm startref='idxcopyrightlawtermextensionsin2' class='endofrange'/>
<para>
It was also my judgment that <emphasis>this</emphasis> Supreme Court
would not allow Congress to extend existing terms. As anyone close to
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,
high; digital technology has lowered these costs substantially. While
it cost more than $10,000 to restore a ninety-minute black-and-white
film in 1993, it can now cost as little as $100 to digitize one hour of
-mm film.<footnote><para>
+
8 mm film.<footnote><para>
<!-- f12. -->
Brief of Hal Roach Studios and Michael Agee as Amicus Curiae
Supporting the Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, 537
<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
<!-- PAGE BREAK 235 -->
freedom to fill the gaps. As one researcher calculated for American
culture, 94 percent of the films, books, and music produced between
-and 1946 is not commercially available. However much you love the
+1923 and 1946 is not commercially available. However much you love the
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
it gets. They included an extraordinary historical brief by the Free
<!-- PAGE BREAK 239 -->
-Software Foundation (home of the GNU project that made GNU/ Linux
+Software Foundation (home of the GNU project that made GNU/Linux
possible). They included a powerful brief about the costs of
uncertainty by Intel. There were two law professors' briefs, one by
copyright scholars and one by First Amendment scholars. There was an
<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 on the next page
-(<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">
-<title>Tom the Dancing Bug cartoon</title>
-<graphic fileref="images/18.png"></graphic>
+<figure id="fig-18" float="1">
+<title></title>
+<graphic fileref="images/tom-the-dancing-bug.png" align="center" width="100%"></graphic>
<indexterm><primary>Bolling, Ruben</primary></indexterm>
</figure>
<para>
<!-- PAGE BREAK 254 -->
</chapter>
<chapter label="14" id="eldred-ii">
-<title>CHAPTER FOURTEEN: 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>
-<indexterm id="idxantiretroviraldrugs" class='startofrange'><primary>antiretroviral drugs</primary></indexterm>
-<indexterm id="idxhivaidstherapies" class='startofrange'><primary>HIV/AIDS therapies</primary></indexterm>
-<indexterm id="idxafricahivmed" class='startofrange'><primary>Africa, medications for HIV patients in</primary></indexterm>
+<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>
+<indexterm id='idxdevelopingcountriesforeignpatentcostsin2' class='startofrange'><primary>developing countries, foreign patent costs in</primary></indexterm>
+<indexterm id='idxdrugspharmaceutical' class='startofrange'><primary>drugs</primary><secondary>pharmaceutical</secondary></indexterm>
+<indexterm id='idxhivaidstherapies' class='startofrange'><primary>HIV/AIDS therapies</primary></indexterm>
<para>
<emphasis role='strong'>There are more</emphasis> than 35 million
people with the AIDS virus worldwide. Twenty-five million of them live
the developing world receive them—and half of them are in Brazil.
</para></footnote>
</para>
+<indexterm id='idxpatentsonpharmaceuticals' class='startofrange'><primary>patents</primary><secondary>on pharmaceuticals</secondary></indexterm>
+<indexterm id='idxpharmaceuticalpatents' class='startofrange'><primary>pharmaceutical patents</primary></indexterm>
<para>
<!-- PAGE BREAK 265 -->
These prices are not high because the ingredients of the drugs are
bringing, they started looking for ways to import HIV treatments at
costs significantly below the market price.
</para>
+<indexterm id='idxinternationallaw2' class='startofrange'><primary>international law</primary></indexterm>
+<indexterm id='idxparallelimportation' class='startofrange'><primary>parallel importation</primary></indexterm>
+<indexterm id='idxsouthafricarepublicofpharmaceuticalimportsby' class='startofrange'><primary>South Africa, Republic of, pharmaceutical imports by</primary></indexterm>
<para>
In 1997, South Africa tried one tack. It passed a law to allow the
importation of patented medicines that had been produced or sold in
<indexterm><primary>Drahos, Peter</primary></indexterm>
</para></footnote>
</para>
+<indexterm><primary>United States Trade Representative (USTR)</primary></indexterm>
<para>
However, the United States government opposed the bill. Indeed, more
than opposed. As the International Intellectual Property Association
Africa, a Report Prepared for the World Intellectual Property
Organization</citetitle> (Washington, D.C., 2000), 15. </para></footnote>
</para>
+<indexterm startref='idxparallelimportation' class='endofrange'/>
<para>
We should place the intervention by the United States in context. No
doubt patents are not the most important reason that Africans don't
importance of <quote>intellectual property</quote> that led these government actors
to intervene against the South African response to AIDS.
</para>
+<indexterm startref='idxsouthafricarepublicofpharmaceuticalimportsby' class='endofrange'/>
<para>
Now just step back for a moment. There will be a time thirty years
from now when our children look back at us and ask, how could we have
that results in so many deaths? What exactly is the insanity that
would allow so many to die for such an abstraction?
</para>
+<indexterm id='idxcorporationsinpharmaceuticalindustry' class='startofrange'><primary>corporations</primary><secondary>in pharmaceutical industry</secondary></indexterm>
<para>
Some blame the drug companies. I don't. They are corporations.
Their managers are ordered by law to make money for the corporation.
drugs didn't get back into the United States, but those are mere
problems of technology. They could be overcome.
</para>
+<indexterm id='idxintellectualpropertyrightsofdrugpatents' class='startofrange'><primary>intellectual property rights</primary><secondary>of drug patents</secondary></indexterm>
<para>
A different problem, however, could not be overcome. This is the
fear of the grandstanding politician who would call the presidents of
strategy thus becomes framed in terms of this ideal—the sanctity of an
idea called <quote>intellectual property.</quote>
</para>
+<indexterm startref='idxafricamedicationsforhivpatientsin' class='endofrange'/>
+<indexterm startref='idxaidsmedications' class='endofrange'/>
+<indexterm startref='idxantiretroviraldrugs' class='endofrange'/>
+<indexterm startref='idxdevelopingcountriesforeignpatentcostsin2' class='endofrange'/>
+<indexterm startref='idxdrugspharmaceutical' class='endofrange'/>
+<indexterm startref='idxhivaidstherapies' class='endofrange'/>
+<indexterm startref='idxcorporationsinpharmaceuticalindustry' class='endofrange'/>
<para>
So when the common sense of your child confronts you, what will
you say? When the common sense of a generation finally revolts
policy. For most of our history, both copyright and patent policies
were balanced in just this sense.
</para>
+<indexterm startref='idxpatentsonpharmaceuticals' class='endofrange'/>
+<indexterm startref='idxpharmaceuticalpatents' class='endofrange'/>
+<indexterm startref='idxinternationallaw2' class='endofrange'/>
<para>
But we as a culture have lost this sense of balance. We have lost the
critical eye that helps us see the difference between truth and
consequences more grave to the spread of ideas and culture than almost
any other single policy decision that we as a democracy will make.
</para>
-<indexterm startref="idxafricahivmed" class='endofrange'/>
-<indexterm startref="idxhivaidstherapies" class='endofrange'/>
-<indexterm startref="idxantiretroviraldrugs" class='endofrange'/>
+<indexterm startref='idxintellectualpropertyrightsofdrugpatents' class='endofrange'/>
<para>
<emphasis role='strong'>A simple idea</emphasis> blinds us, and under
the cover of darkness, much happens that most of us would reject if
noticed. Powerful lobbies, complex issues, and MTV attention spans
produce the <quote>perfect storm</quote> for free culture.
</para>
+<indexterm><primary>academic journals</primary></indexterm>
+<indexterm><primary>biomedical research</primary></indexterm>
+<indexterm id='idxintellectualpropertyrightsinternationalorganizationonissuesof' class='startofrange'><primary>intellectual property rights</primary><secondary>international organization on issues of</secondary></indexterm>
+<indexterm><primary>Internet</primary><secondary>development of</secondary></indexterm>
+<indexterm><primary>IBM</primary></indexterm>
+<indexterm><primary>PLoS (Public Library of Science)</primary></indexterm>
+<indexterm><primary>Public Library of Science (PLoS)</primary></indexterm>
<indexterm><primary>public domain</primary><secondary>public projects in</secondary></indexterm>
<indexterm><primary>single nucleotied polymorphisms (SNPs)</primary></indexterm>
<indexterm><primary>Wellcome Trust</primary></indexterm>
+<indexterm id='idxworldintellectualpropertyorganizationwipo' class='startofrange'><primary>World Intellectual Property Organization (WIPO)</primary></indexterm>
<indexterm><primary>World Wide Web</primary></indexterm>
<indexterm><primary>Global Positioning System</primary></indexterm>
<indexterm><primary>Reagan, Ronald</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>
Wide Web, both of which were developed on the basis of protocols in
the public domain. It included an emerging trend to support open
academic journals, including the Public Library of Science project
-that I describe in the Afterword. It included a project to develop
-single nucleotide polymorphisms (SNPs), which are thought to have
-great significance in biomedical research. (That nonprofit project
-comprised a consortium of the Wellcome Trust and pharmaceutical and
-technological companies, including Amersham Biosciences, AstraZeneca,
+that I describe in chapter
+<xref xrefstyle="select: labelnumber" linkend="c-afterword"/>. It
+included a project to develop single nucleotide polymorphisms (SNPs),
+which are thought to have great significance in biomedical
+research. (That nonprofit project comprised a consortium of the
+Wellcome Trust and pharmaceutical and technological companies,
+including Amersham Biosciences, AstraZeneca,
<!-- PAGE BREAK 270 -->
Aventis, Bayer, Bristol-Myers Squibb, Hoffmann-La Roche,
Glaxo-SmithKline, IBM, Motorola, Novartis, Pfizer, and Searle.) It
included the Global Positioning System, which Ronald Reagan set free
in the early 1980s. And it included <quote>open source and free software.</quote>
-<indexterm><primary>academic journals</primary></indexterm>
-<indexterm><primary>IBM</primary></indexterm>
-<indexterm><primary>PLoS (Public Library of Science)</primary></indexterm>
</para>
<indexterm startref='idxbiomedicalresearch' class='endofrange'/>
<para>
property was balanced by agreements to keep access open or to impose
limitations on the way in which proprietary claims might be used.
</para>
+<indexterm id='idxlessiglawrenceininternationaldebateonintellectualproperty' class='startofrange'><primary>Lessig, Lawrence</primary><secondary>in international debate on intellectual property</secondary></indexterm>
<para>
From the perspective of this book, then, the conference was ideal.<footnote><para>
<!-- f7. --> I should disclose that I was one of the people who asked WIPO for the
WIPO is the preeminent international body dealing with intellectual
property issues.
</para>
+<indexterm id='idxworldsummitontheinformationsocietywsis' class='startofrange'><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
<para>
Indeed, I was once publicly scolded for not recognizing this fact
about WIPO. In February 2003, I delivered a keynote address to a
thus the meeting about <quote>open and collaborative projects to create
public goods</quote> seemed perfectly appropriate within the WIPO agenda.
</para>
+<indexterm startref='idxintellectualpropertyrightsinternationalorganizationonissuesof' class='endofrange'/>
+<indexterm startref='idxworldintellectualpropertyorganizationwipo' class='endofrange'/>
+<indexterm startref='idxworldsummitontheinformationsocietywsis' class='endofrange'/>
+<indexterm id='idxfreesoftwareopensourcesoftwarefsoss' class='startofrange'><primary>free software/open-source software (FS/OSS)</primary></indexterm>
<indexterm><primary>Apple Corporation</primary></indexterm>
+<indexterm id='idxmicrosoftonfreesoftware' class='startofrange'><primary>Microsoft</primary><secondary>on free software</secondary></indexterm>
<para>
But there is one project within that list that is highly
controversial, at least among lobbyists. That project is <quote>open source
<ulink url="http://free-culture.cc/notes/">link #63</ulink>.
</para></footnote>
</para>
+<indexterm startref='idxlessiglawrenceininternationaldebateonintellectualproperty' class='endofrange'/>
<indexterm><primary>General Public License (GPL)</primary></indexterm>
<indexterm><primary>GPL (General Public License)</primary></indexterm>
<para>
could not impose the same kind of requirements on its adopters. It
thus depends upon copyright law just as Microsoft does.
</para>
-<indexterm><primary>Krim, Jonathan</primary></indexterm>
+<indexterm id='idxintellectualpropertyrightsinternationalorganizationonissuesof2' class='startofrange'><primary>intellectual property rights</primary><secondary>international organization on issues of</secondary></indexterm>
+<indexterm id='idxworldintellectualpropertyorganizationwipo2' class='startofrange'><primary>World Intellectual Property Organization (WIPO)</primary></indexterm>
+<indexterm id='idxkrimjonathan' class='startofrange'><primary>Krim, Jonathan</primary></indexterm>
<indexterm><primary>Microsoft</primary><secondary>WIPO meeting opposed by</secondary></indexterm>
<para>
It is therefore understandable that as a proprietary software
powerful software producer in the United States having succeeded in
its lobbying efforts.
</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
to disclaim or waive such rights seems to us to be contrary to the
goals of WIPO.</quote>
</para>
+<indexterm startref='idxkrimjonathan' class='endofrange'/>
<para>
These statements are astonishing on a number of levels.
</para>
+<indexterm startref='idxfreesoftwareopensourcesoftwarefsoss' class='endofrange'/>
<!-- PAGE BREAK 273 -->
<para>
First, they are just flat wrong. As I described, most open source and
first-year law student, but an embarrassment from a high government
official dealing with intellectual property issues.
</para>
+<indexterm><primary>World Summit on the Information Society (WSIS)</primary></indexterm>
+<indexterm><primary>drugs</primary><secondary>pharmaceutical</secondary></indexterm>
<indexterm><primary>generic drugs</primary></indexterm>
+<indexterm><primary>patents</primary><secondary>on pharmaceuticals</secondary></indexterm>
<para>
Second, who ever said that WIPO's exclusive aim was to <quote>promote</quote>
intellectual property maximally? As I had been scolded at the
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
that they also should be exercised in the most extreme and restrictive
way possible.
</para>
+<indexterm id='idxfeudalsystem' class='startofrange'><primary>feudal system</primary></indexterm>
+<indexterm id='idxpropertyrightsfeudalsystemof' class='startofrange'><primary>property rights</primary><secondary>feudal system of</secondary></indexterm>
<para>
There is a history of just such a property system that is well known
in the Anglo-American tradition. It is called <quote>feudalism.</quote> Under
<emphasis>free</emphasis> or <emphasis>feudal</emphasis>. The trend is
toward the feudal.
</para>
+<indexterm startref='idxfeudalsystem' class='endofrange'/>
+<indexterm startref='idxpropertyrightsfeudalsystemof' class='endofrange'/>
<para>
When this battle broke, I blogged it. A spirited debate within the
comment section ensued. Ms. Boland had a number of supporters who
that was particularly depressing for me. An anonymous poster wrote,
</para>
<blockquote>
+<indexterm startref='idxintellectualpropertyrightsinternationalorganizationonissuesof2' class='endofrange'/>
+<indexterm startref='idxworldintellectualpropertyorganizationwipo2' class='endofrange'/>
<para>
George, you misunderstand Lessig: He's only talking about the world as
it should be (<quote>the goal of WIPO, and the goal of any government,
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
Rights Reserved</quote> sorts believe you should be able to do with content
as you wish, regardless of whether you have permission or not.
</para>
+<indexterm id='idxinternetdevelopmentof2' class='startofrange'><primary>Internet</primary><secondary>development of</secondary></indexterm>
+<indexterm id='idxinternetinitialfreecharacterof' class='startofrange'><primary>Internet</primary><secondary>initial free character of</secondary></indexterm>
<para>
When the Internet was first born, its initial architecture effectively
tilted in the <quote>no rights reserved</quote> direction. Content could be copied
the Internet today will become a <quote>get permission to cut and paste</quote>
world that is a creator's nightmare.
</para>
+<indexterm startref='idxinternetdevelopmentof2' class='endofrange'/>
+<indexterm startref='idxinternetinitialfreecharacterof' class='endofrange'/>
<para>
What's needed is a way to say something in the middle—neither
<quote>all rights reserved</quote> nor <quote>no rights reserved</quote> but <quote>some rights
way to restore a set of freedoms that we could just take for granted
before.
</para>
-
<section id="examples">
<title>Rebuilding Freedoms Previously Presumed: Examples</title>
-<indexterm id='browsing' class='startofrange'><primary>browsing</primary></indexterm>
+<indexterm id='idxfreeculturerestorationeffortsonpreviousaspectsof' class='startofrange'><primary>free culture</primary><secondary>restoration efforts on previous aspects of</secondary></indexterm>
+<indexterm id='idxbrowsing' class='startofrange'><primary>browsing</primary></indexterm>
+<indexterm id='idxprivacyrights2' class='startofrange'><primary>privacy rights</primary></indexterm>
<para>
If you step back from the battle I've been describing here, you will
recognize this problem from other contexts. Think about
places, not by norms (snooping and gossip are just fun), but instead,
by the costs that friction imposes on anyone who would want to spy.
</para>
-<indexterm><primary>Amazon</primary></indexterm>
+<indexterm
id='idxamazon' class='startofrange'><primary>Amazon</primary></indexterm>
<indexterm><primary>cookies, Internet</primary></indexterm>
+<indexterm id='idxinternetprivacyprotectionon' class='startofrange'><primary>Internet</primary><secondary>privacy protection on</secondary></indexterm>
<para>
Enter the Internet, where the cost of tracking browsing in particular
has become quite tiny. If you're a customer at Amazon, then as you
data than not. The friction has disappeared, and hence any <quote>privacy</quote>
protected by the friction disappears, too.
</para>
+<indexterm><primary>libraries</primary><secondary>privacy rights in use of</secondary></indexterm>
<para>
Amazon, of course, is not the problem. But we might begin to worry
about libraries. If you're one of those crazy lefties who thinks that
electronic spaces, then the friction-induced privacy of yesterday
disappears.
</para>
-<indexterm startref='browsing' class='endofrange'/>
+<indexterm startref='idxbrowsing' class='endofrange'/>
+<indexterm startref='idxamazon' class='endofrange'/>
<para>
It is this reality that explains the push of many to define <quote>privacy</quote>
on the Internet. It is the recognition that technology can remove what
technology now forces those who believe in privacy to affirmatively
act where, before, privacy was given by default.
</para>
+<indexterm startref='idxprivacyrights2' class='endofrange'/>
+<indexterm startref='idxinternetprivacyprotectionon' class='endofrange'/>
+<indexterm><primary>Data General</primary></indexterm>
+<indexterm><primary>IBM</primary></indexterm>
+<indexterm id='idxfreesoftwareopensourcesoftwarefsoss2' class='startofrange'><primary>free software/open-source software (FS/OSS)</primary></indexterm>
<para>
A similar story could be told about the birth of the free software
movement. When computers with software were first made available
binaries— was free. You couldn't run a program written for a
Data General machine on an IBM machine, so Data General and IBM didn't
care much about controlling their software.
-<indexterm><primary>IBM</primary></indexterm>
</para>
-<indexterm><primary>Stallman, Richard</primary></indexterm>
+<indexterm
id='idxstallmanrichard' class='startofrange'><primary>Stallman, Richard</primary></indexterm>
<para>
That was the world Richard Stallman was born into, and while he was a
researcher at MIT, he grew to love the community that developed when
too, was knowledge. Why shouldn't it be open for criticism like
anything else?
</para>
+<indexterm id='idxproprietarycode' class='startofrange'><primary>proprietary code</primary></indexterm>
<para>
No one answered that question. Instead, the architecture of revenue
for computing changed. As it became possible to import programs from
it, then the freedom to change and share software would be
fundamentally weakened.
</para>
+<indexterm startref='idxproprietarycode' class='endofrange'/>
<indexterm><primary>Torvalds, Linus</primary></indexterm>
<para>
Therefore, in 1984, Stallman began a project to build a free operating
space where free software would survive. He was actively protecting
what before had been passively guaranteed.
</para>
+<indexterm startref='idxfreesoftwareopensourcesoftwarefsoss2' class='endofrange'/>
+<indexterm startref='idxstallmanrichard' class='endofrange'/>
+<indexterm id='idxacademicjournals' class='startofrange'><primary>academic journals</primary></indexterm>
+<indexterm id='idxscientificjournals' class='startofrange'><primary>scientific journals</primary></indexterm>
<para>
Finally, consider a very recent example that more directly resonates
with the story of this book. This is the shift in the way academic and
scientific journals are produced.
</para>
-<indexterm id="idxacademocjournals" class='startofrange'><primary>academic journals</primary></indexterm>
+<indexterm id='idxlexisandwestlaw' class='startofrange'><primary>Lexis and Westlaw</primary></indexterm>
+<indexterm id='idxlawdatabasesofcasereportsin' class='startofrange'><primary>law</primary><secondary>databases of case reports in</secondary></indexterm>
+<indexterm><primary>libraries</primary><secondary>journals in</secondary></indexterm>
+<indexterm><primary>Supreme Court, U.S.</primary><secondary>access to opinions of</secondary></indexterm>
<para>
As digital technologies develop, it is becoming obvious to many that
printing thousands of copies of journals every month and sending them
to charge users for the privilege of gaining access to that Supreme
Court opinion through their respective services.
</para>
+<indexterm><primary>public domain</primary><secondary>access fees for material in</secondary></indexterm>
+<indexterm id='idxpublicdomainlicensesystemforrebuildingof' class='startofrange'><primary>public domain</primary><secondary>license system for rebuilding of</secondary></indexterm>
<para>
There's nothing wrong in general with this, and indeed, the ability to
charge for access to even public domain materials is a good incentive
domain, then there could be nothing wrong, in principle, with selling
access to material that is not in the public domain.
</para>
+<indexterm startref='idxlexisandwestlaw' class='endofrange'/>
+<indexterm startref='idxlawdatabasesofcasereportsin' class='endofrange'/>
<para>
But what if the only way to get access to social and scientific data
was through proprietary services? What if no one had the ability to
browse this data except by paying for a subscription?
</para>
+<indexterm id='idxlibrariesjournalsin' class='startofrange'><primary>libraries</primary><secondary>journals in</secondary></indexterm>
<para>
As many are beginning to notice, this is increasingly the reality with
scientific journals. When these journals were distributed in paper
software, a changing technology and market shrink a freedom taken for
granted before.
</para>
+<indexterm><primary>PLoS (Public Library of Science)</primary></indexterm>
+<indexterm><primary>Public Library of Science (PLoS)</primary></indexterm>
<para>
This shrinking freedom has led many to take affirmative steps to
restore the freedom that has been lost. The Public Library of Science
available for free. PLoS also sells a print version of its work, but
the copyright for the print journal does not inhibit the right of
anyone to redistribute the work for free.
-<indexterm><primary>PLoS (Public Library of Science)</primary></indexterm>
</para>
+<indexterm startref='idxlibrariesjournalsin' class='endofrange'/>
<para>
This is one of many such efforts to restore a freedom taken for
granted before, but now threatened by changing technology and markets.
presumptively a good—especially when it helps spread knowledge
and science.
</para>
-<indexterm startref="idxacademocjournals" class='endofrange'/>
-
+<indexterm startref='idxfreeculturerestorationeffortsonpreviousaspectsof' class='endofrange'/>
+<indexterm startref='idxacademicjournals' class='endofrange'/>
+<indexterm startref='idxscientificjournals' class='endofrange'/>
</section>
<section id="oneidea">
<title>Rebuilding Free Culture: One Idea</title>
-<indexterm id=
"idxcc" class='startofrange'><primary>Creative Commons</primary></indexterm>
+<indexterm id=
'idxcreativecommons' class='startofrange'><primary>Creative Commons</primary></indexterm>
<para>
The same strategy could be applied to culture, as a response to the
increasing control effected through law and technology.
who help build the public domain and, by their work, demonstrate the
importance of the public domain to other creativity.
</para>
+<indexterm><primary>Jefferson, Thomas</primary></indexterm>
<para>
The aim is not to fight the <quote>All Rights Reserved</quote> sorts. The aim is to
complement them. The problems that the law creates for us as a culture
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
flexibly and cheaply. That difference, we believe, will enable
creativity to spread more easily.
</para>
-<indexterm startref="idxcc" class='endofrange'/>
-
+<indexterm startref='idxpublicdomainlicensesystemforrebuildingof' class='endofrange'/>
+<indexterm startref='idxcreativecommons' class='endofrange'/>
<!-- PAGE BREAK 292 -->
</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>
+<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 © 2004 Lawrence Lessig. Some rights reserved.
+</para>
+
+<para>
+<ulink url="http://free-culture.cc/"/>
+</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.
+</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
+16, 2003. Copyright © 2003 by The New York Times Co. Reprinted
+with permission.
+</para>
+<para>
+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 figure
+<xref xrefstyle="template:%n" linkend="fig-1761-pattern-modern-media-ownership"/>
+courtesy of the office of FCC Commissioner, Michael J. Copps.
+</para>
+
+<para>
+Cover created by Petter Reinholdtsen using inkscape.
+</para>
+
+<para>
+The quotes on the cover came from
+<ulink url="http://free-culture.cc/jacket/"/>.
+</para>
+
+<para>
+Portrait on the cover was created 2013 by ActuaLitté and licensed
+under a Creative Commons Attribution-ShareAlike 2.0 license. It was
+downloaded from
+<ulink url="https://commons.wikimedia.org/wiki/File%3ALawrence_Lessig_(11014343366)_(cropped).jpg"/>.
+</para>
+
+<para>
+Classifications:
+</para>
+
+<para>
+(Dewey)
+306.4,
+306.40973,
+306.46,
+341.7582,
+343.7309/9
+</para>
+
+<para>
+(UDK) 347.78
+</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>Format / MIME-type</entry>
+ <entry>ISBN</entry>
+ </row>
+</thead>
+<tbody>
+ <row>
+ <entry>US Trade edition from lulu.com</entry>
+ <entry>978-82-8067-010-6</entry>
+ </row>
+ <row>
+ <entry>application/pdf</entry>
+ <entry>978-82-8067-011-3</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>
+ </row>
+</tbody>
+</tgroup>
+</informaltable>
+</para>
+
+</colophon>
</book>
projects / text-free-culture-lessig.git / blobdiff