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[text-free-culture-lessig.git] / freeculture.xml

diff --git a/freeculture.xml b/freeculture.xml
index 3bc949d9066ba922858979dbf116f84547729ca9..c8aea4abd99ec16367ebd3a80e17c19f7b67aec6 100644 (file)
--- a/freeculture.xml
+++ b/freeculture.xml
@@ -2078,6 +2078,8 @@ realized.
 <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
@@ -2094,6 +2096,9 @@ schools and enable three hundred to five hundred children to learn
 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
@@ -2120,6 +2125,7 @@ deconstruct media images. Its aim is to make [kids] literate about the
 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
@@ -2163,8 +2169,8 @@ from reading a book about it. One learns to write by writing and then
 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
@@ -2285,6 +2291,7 @@ 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 -->
@@ -2317,6 +2324,7 @@ make a little movie.</quote> But instead, really help you take these elements
 that you understand, that are your language, and construct meaning
 about the topic.&hellip;
 </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
@@ -2335,6 +2343,10 @@ had a lot of power with this language.
 <!-- 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>
@@ -3249,6 +3261,10 @@ To Amend and Consolidate the Acts Respecting Copyright, 23
 <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
@@ -3274,6 +3290,7 @@ memorandum of Philip Mauro, general patent counsel of the American
 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
@@ -3289,6 +3306,8 @@ copyright law that makes cover songs possible. Once a composer
 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
@@ -3297,7 +3316,7 @@ Copyright Act in 1909, record companies were free to distribute copies
 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
@@ -3308,6 +3327,7 @@ have no permission to use Grisham's work except with permission of
 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
@@ -3329,8 +3349,10 @@ 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
@@ -3360,6 +3382,10 @@ March 1967). I am grateful to Glenn Brown for drawing my attention to
 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.
@@ -3367,7 +3393,8 @@ 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>
@@ -3431,6 +3458,7 @@ the sale of her CDs. The public performance of her recording is not a
 <emphasis>pirate</emphasis> the value of Madonna's work without paying
 her anything.
 </para>
+<indexterm startref='idxartistsrecordingindustrypaymentsto' class='endofrange'/>
 <indexterm startref='idxmadonna' class='endofrange'/>
 <para>
 No doubt, one might argue that, on balance, the recording artists
@@ -3440,7 +3468,7 @@ ordinarily gives the creator the right to make this choice. By making
 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>
@@ -8120,7 +8148,7 @@ following report:
 Wonderland</quote>.</title>
 <graphic fileref="images/1641.png"></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
@@ -11031,6 +11059,7 @@ success will require.
 <!-- PAGE BREAK 220 -->
 <chapter label="13" id="eldred">
 <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
@@ -11041,6 +11070,8 @@ Hampshire, decided to put Hawthorne on the Web. An electronic version,
 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&mdash;at least for his daughters. They didn't find
 Hawthorne any more interesting than before. But Eldred's experiment
@@ -11061,6 +11092,7 @@ accessible to the twentieth century, Eldred transformed Hawthorne, and
 many others, into a form more accessible&mdash;technically
 accessible&mdash;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
@@ -11104,6 +11136,13 @@ world before the Internet were extremely few. Yet one would think it
 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
@@ -11118,8 +11157,12 @@ would pass into the public domain until that year (and not even then,
 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 -->
@@ -11138,8 +11181,12 @@ you know, there is also Jack Valenti's proposal for a term to last
 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
@@ -11149,6 +11196,11 @@ of publishing would make Eldred a felon&mdash;whether or not anyone
 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
@@ -11166,6 +11218,7 @@ by securing for limited Times to Authors &hellip; exclusive Right to
 their &hellip; Writings. &hellip;
 </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
@@ -11176,6 +11229,9 @@ specific&mdash;to <quote>promote &hellip; Progress</quote>&mdash;through means t
 are also specific&mdash; 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
@@ -11188,6 +11244,9 @@ Congress has the power to extend its term, then Congress can achieve
 what the Constitution plainly forbids&mdash;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
@@ -11333,6 +11392,9 @@ constitutional requirement that terms be <quote>limited.</quote> If
 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
@@ -11638,7 +11700,7 @@ For most of the history of film, the costs of restoring film were very
 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
@@ -11824,7 +11886,7 @@ market is not doing the job, then we should allow nonmarket forces the
 <!-- 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. -->
@@ -13456,11 +13518,13 @@ intellectual property. Examples include the Internet and the World
 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