<preface id="preface">
<title>PREFACE</title>
-<indexterm id="idxpoguedavid" class='startofrange'>
- <primary>Pogue, David</primary>
-</indexterm>
+<indexterm id="idxpoguedavid" class='startofrange'><primary>Pogue, David</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
changes I describe affect values that both sides of our political
culture deem fundamental.
</para>
+<indexterm id='idxpower' class='startofrange'><primary>power, concentration of</primary></indexterm>
<indexterm><primary>CodePink Women in Peace</primary></indexterm>
+<indexterm><primary>Safire, William</primary></indexterm>
<indexterm><primary>Stevens, Ted</primary></indexterm>
<para>
We saw a glimpse of this bipartisan outrage in the early summer of
Olympia Snowe and conservative Ted Stevens,</quote> he formulated perhaps
most simply just what was at stake: the concentration of power. And as
he asked,
-<indexterm><primary>Safire, William</primary></indexterm>
</para>
<blockquote>
<para>
you—whether or not you care about the Internet, and whether you're on
Safire's left or on his right.
</para>
+<indexterm startref='idxpower' class='endofrange'/>
<para>
<emphasis role="strong">The inspiration</emphasis> for the title and for
much of the argument of this book comes from the work of Richard
<!-- PAGE BREAK 16 -->
<chapter label="0" id="c-introduction">
<title>INTRODUCTION</title>
-<indexterm id='idxairtraffic' class='startofrange'>
- <primary>air traffic, land ownership vs.</primary>
-</indexterm>
-<indexterm id='idxlandownership' class='startofrange'>
- <primary>land ownership, air traffic and</primary>
-</indexterm>
-<indexterm id='idxproprigtair' class='startofrange'>
- <primary>property rights</primary>
- <secondary>air traffic vs.</secondary>
-</indexterm>
-<indexterm><primary>Wright brothers</primary></indexterm>
+<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
shy of one hundred seconds, the Wright brothers demonstrated that a
was an explosion of interest in this newfound technology of manned
flight, and a gaggle of innovators began to build upon it.
</para>
+<indexterm id='idxairtraffic' class='startofrange'><primary>air traffic, land ownership vs.</primary></indexterm>
+<indexterm id='idxlandownership' class='startofrange'><primary>land ownership, air traffic and</primary></indexterm>
+<indexterm id='idxproprigtair' class='startofrange'><primary>property rights</primary><secondary>air traffic vs.</secondary></indexterm>
<para>
At the time the Wright brothers invented the airplane, American
law held that a property owner presumptively owned not just the surface
rights in land ran to the heavens. Did that mean that you owned the
stars? Could you prosecute geese for their willful and regular trespass?
</para>
+<indexterm startref='idxwrightbrothers' class='endofrange'/>
<para>
Then came airplanes, and for the first time, this principle of American
law—deep within the foundations of our tradition, and acknowledged
<indexterm startref='idxproprigtair' class='endofrange'/>
<indexterm startref='idxlandownership' class='endofrange'/>
<indexterm startref='idxairtraffic' class='endofrange'/>
-<indexterm id='idxarmstrongedwin' class='startofrange'>
- <primary>Armstrong, Edwin Howard</primary>
-</indexterm>
+<indexterm id='idxarmstrongedwin' class='startofrange'><primary>Armstrong, Edwin Howard</primary></indexterm>
<indexterm><primary>Bell, Alexander Graham</primary></indexterm>
<indexterm><primary>Edison, Thomas</primary></indexterm>
<indexterm><primary>Faraday, Michael</primary></indexterm>
</para></footnote>
</para>
</blockquote>
-<indexterm id='idxlessing' class='startofrange'>
- <primary>Lessing, Lawrence</primary>
-</indexterm>
+<indexterm id='idxlessing' class='startofrange'><primary>Lessing, Lawrence</primary></indexterm>
<para>
Armstrong's invention threatened RCA's AM empire, so the company
launched a campaign to smother FM radio. While FM may have been a
sense was it dominant within our tradition. It was instead just one
part, a controlled part, balanced with the free.
</para>
+<indexterm><primary>free culture</primary><secondary> permission culture vs.</secondary></indexterm>
+<indexterm><primary>permission culture</primary><secondary> free culture vs.</secondary></indexterm>
<para>
This rough divide between the free and the controlled has now
been erased.<footnote><para>
succeeding in their plan to remake the Internet before the Internet
remakes them.
</para>
+<indexterm><primary>Valenti, Jack</primary><secondary> on creative property rights</secondary></indexterm>
<para>
It doesn't seem this way to many. The battles over copyright and the
<!-- PAGE BREAK 25 -->
the lucky Wright brothers, the Internet has not inspired a revolution
on its side.
</para>
+<indexterm><primary>power, concentration of</primary></indexterm>
<para>
My hope is to push this common sense along. I have become increasingly
amazed by the power of this idea of intellectual property and, more
<title><quote>PIRACY</quote></title>
<partintro>
<!-- PAGE BREAK 30 -->
-<indexterm id="idxmansfield1" class='startofrange'>
- <primary>Mansfield, William Murray, Lord</primary>
-</indexterm>
+<indexterm id="idxmansfield1" class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
<para>
<emphasis role="strong">Since the inception</emphasis> of the law regulating creative property, there has
been a war against <quote>piracy.</quote> The precise contours of this concept,
piracy.
</para>
</blockquote>
+<indexterm><primary>ASCAP</primary></indexterm>
<indexterm><primary>Dreyfuss, Rochelle</primary></indexterm>
-<indexterm><primary>Girl Schouts</primary></indexterm>
-<indexterm id='idxifvalue' class='startofrange'>
- <primary><quote>if value, then right</quote> theory</primary>
-</indexterm>
+<indexterm><primary>Girl Scouts</primary></indexterm>
+<indexterm id='idxifvalue' class='startofrange'><primary><quote>if value, then right</quote> theory</primary></indexterm>
<para>
This view runs deep within the current debates. It is what NYU law
professor Rochelle Dreyfuss criticizes as the <quote>if value, then right</quote>
There was <quote>value</quote> (the songs) so there must have been a
<quote>right</quote>—even against the Girl Scouts.
</para>
-<indexterm><primary>ASCAP</primary></indexterm>
<para>
This idea is certainly a possible understanding of how creative
property should work. It might well be a possible design for a system
<!-- PAGE BREAK 34 -->
<chapter label="1" id="creators">
<title>CHAPTER ONE: Creators</title>
-<indexterm id="idxanimadedcartoons" class='startofrange'>
- <primary>animated cartoons</primary>
-</indexterm>
+<indexterm id="idxanimadedcartoons" class='startofrange'><primary>animated cartoons</primary></indexterm>
+<indexterm id='idxcartoonfilms' class='startofrange'><primary>cartoon films</primary></indexterm>
<para>
<emphasis role="strong">In 1928</emphasis>, a cartoon character was born. An early Mickey Mouse
made his debut in May of that year, in a silent flop called <citetitle>Plane Crazy</citetitle>.
permission. Yet today, the public domain is presumptive only for
content from before the Great Depression.
</para>
+<indexterm startref='idxcartoonfilms' class='endofrange'/>
<para>
<emphasis role="strong">Of course</emphasis>, Walt Disney had no monopoly on <quote>Walt Disney creativity.</quote>
Nor does America. The norm of free culture has, until recently, and
infringement of the original copyright to make a copy or a derivative
work without the original copyright owner's permission.
</para>
-<indexterm id="idxwinickjudd" class='startofrange'>
- <primary>Winick, Judd</primary>
-</indexterm>
+<indexterm id="idxwinickjudd" class='startofrange'><primary>Winick, Judd</primary></indexterm>
<para>
Yet this illegal market exists and indeed flourishes in Japan, and in
the view of many, it is precisely because it exists that Japanese manga
</chapter>
<chapter label="2" id="mere-copyists">
<title>CHAPTER TWO: <quote>Mere Copyists</quote></title>
-<indexterm id="idxphotography" class='startofrange'>
- <primary>photography</primary>
-</indexterm>
+<indexterm id='idxcameratech' class='startofrange'><primary>camera technology</primary></indexterm>
+<indexterm id="idxphotography" class='startofrange'><primary>photography</primary></indexterm>
<indexterm><primary>Daguerre, Louis</primary></indexterm>
<para>
<emphasis role='strong'>In 1839</emphasis>, Louis Daguerre invented
amateurs.
<indexterm><primary>Talbot, William</primary></indexterm>
</para>
-<indexterm id="idxeastmangeorge" class='startofrange'>
- <primary>Eastman, George</primary>
-</indexterm>
+<indexterm id="idxeastmangeorge" class='startofrange'><primary>Eastman, George</primary></indexterm>
<para>
The technological change that made mass photography possible
didn't happen until 1888, and was the creation of a single man. George
Based on a chart in Jenkins, p. 178.
</para></footnote>
</para>
+<indexterm startref='idxcameratech' class='endofrange'/>
<indexterm><primary>Coe, Brian</primary></indexterm>
<para>
growth in a democratic technology of expression would have been
realized.
</para>
+<indexterm><primary>camera technology</primary></indexterm>
<para>
<emphasis role='strong'>If you drive</emphasis> through San
Francisco's Presidio, you might see two gaudy yellow school buses
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><primary>blogs (Web-logs)</primary></indexterm>
<para>
But in the United States, blogs have taken on a very different
character. There are some who use the space simply to talk about
professionalized and routinized. Most of us think this is democracy.
</para>
<indexterm><primary>Tocqueville, Alexis de</primary></indexterm>
+<indexterm><primary>jury system</primary></indexterm>
<para>
But democracy has never just been about elections. Democracy
means rule by the people, but rule means something more than mere
</para></footnote> We say what our friends want to hear, and hear very
little beyond what our friends say.
</para>
+<indexterm id='idxblogs1' class='startofrange'><primary>blogs (Web-logs)</primary></indexterm>
+<indexterm><primary>e-mail</primary></indexterm>
<para>
Enter the blog. The blog's very architecture solves one part of this
problem. People post when they want to post, and people read when they
but there are many of all political stripes. And even blogs that are not
political cover political issues when the occasion merits.
</para>
+<indexterm><primary>Dean, Howard</primary></indexterm>
<para>
The significance of these blogs is tiny now, though not so tiny. The
name Howard Dean may well have faded from the 2004 presidential race
but for blogs. Yet even if the number of readers is small, the reading
is having an effect.
-<indexterm><primary>Dean, Howard</primary></indexterm>
</para>
+<indexterm><primary>Lott, Trent</primary></indexterm>
<indexterm><primary>Thurmond, Strom</primary></indexterm>
<para>
One direct effect is on stories that had a different life cycle in the
Noah Shachtman, <quote>With Incessant Postings, a Pundit Stirs the Pot,</quote> New
York Times, 16 January 2003, G5.
</para></footnote>
-<indexterm><primary>Lott, Trent</primary></indexterm>
</para>
<para>
This different cycle is possible because the same commercial pressures
popular has been selected by a very democratic process of
peer-generated rankings.
</para>
-<indexterm id="idxwinerdave" class='startofrange'>
- <primary>Winer, Dave</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
<!-- PAGE BREAK 57 -->
<indexterm><primary>CNN</primary></indexterm>
<indexterm><primary>Iraq war</primary></indexterm>
<indexterm><primary>Olafson, Steve</primary></indexterm>
+<indexterm><primary>blogs (Web-logs)</primary></indexterm>
See Michael Falcone, <quote>Does an Editor's Pencil Ruin a Web Log?</quote> <citetitle>New
York Times</citetitle>, 29 September 2003, C4. (<quote>Not all news organizations have
been as accepting of employees who blog. Kevin Sites, a CNN
happens. When there are ten million, there will be something
extraordinary to report.
</para>
+<indexterm startref='idxblogs1' class='endofrange'/>
<indexterm startref="idxwinerdave" class='endofrange'/>
-<indexterm id="idxbrownjohnseely" class='startofrange'>
- <primary>Brown, John Seely</primary>
-</indexterm>
-<indexterm id='idxadvertising1' class='startofrange'>
- <primary>advertising</primary>
-</indexterm>
+<indexterm id="idxbrownjohnseely" class='startofrange'><primary>Brown, John Seely</primary></indexterm>
+<indexterm id='idxadvertising1' class='startofrange'><primary>advertising</primary></indexterm>
<para>
<emphasis role='strong'>John Seely Brown</emphasis> is the chief
scientist of the Xerox Corporation. His work, as his Web site
<chapter label="3" id="catalogs">
<title>CHAPTER THREE: Catalogs</title>
<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="idxrensselaer" class='startofrange'><primary>Rensselaer Polytechnic Institute (RPI)</primary></indexterm>
<para>
<emphasis role='strong'>In the fall</emphasis> of 2002, Jesse Jordan
of Oceanside, New York, enrolled as a freshman at Rensselaer
So Jesse faced a mafia-like choice: $250,000 and a chance at winning,
or $12,000 and a settlement.
</para>
-<indexterm>
-<primary>artists</primary>
-<secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm><primary>artists</primary><secondary>recording industry payments to</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.
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
</section>
<section id="radio">
<title>Radio</title>
-<indexterm id='idxartistspayments1' class='startofrange'>
- <primary>artists</primary>
- <secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm id='idxartistspayments1' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<para>
Radio was also born of piracy.
</para>
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
</section>
<section id="cabletv">
<title>Cable TV</title>
+<indexterm id='idxcabletv1' class='startofrange'><primary>cable television</primary></indexterm>
<para>
-
Cable TV was also born of a kind of piracy.
</para>
<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'/>
<para>
<emphasis role='strong'>These separate stories</emphasis> sing a
common theme. If <quote>piracy</quote> means using value from someone
<section id="piracy-i">
<title>Piracy I</title>
<indexterm><primary>Asia, commercial piracy in</primary></indexterm>
+<indexterm id='idxcdsforeign' class='startofrange'><primary>CDs</primary><secondary>foreign piracy of</secondary></indexterm>
<para>
All across the world, but especially in Asia and Eastern Europe, there
are businesses that do nothing but take others people's copyrighted
The physics of piracy of the intangible are different from the physics of
piracy of the tangible.
</para>
+<indexterm startref='idxcdsforeign' class='endofrange'/>
<para>
This argument is still very weak. However, although copyright is a
property right of a very special sort, it <emphasis>is</emphasis> a
Microsoft. Without piracy, then, Microsoft would lose.
<indexterm><primary>GNU/Linux operating system</primary></indexterm>
<indexterm><primary>Linux operating system</primary></indexterm>
-<indexterm>
-<primary>Microsoft</primary>
-<secondary>Windows operating system of</secondary>
-</indexterm>
+<indexterm><primary>Microsoft</primary><secondary>Windows operating system of</secondary></indexterm>
<indexterm><primary>Windows</primary></indexterm>
</para>
<para>
industry complains that type A sharing is a kind of <quote>theft</quote> that is
<quote>devastating</quote> the industry.
</para>
+<indexterm id='idxcassette' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
<para>
While the numbers do suggest that sharing is harmful, how
harmful is harder to reckon. It has long been the recording industry's
& Young put it, <quote>Rather than exploiting this new, popular
technology, the labels fought it.</quote><footnote><para>
<!-- f10 -->
+<indexterm><primary>cassette recording</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
U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4.
</para></footnote>
</para>
+<indexterm startref='idxcassette' class='endofrange'/>
<para>
But just because the industry was wrong before does not mean it is
wrong today. To evaluate the real threat that p2p sharing presents to
them.
</para>
+<indexterm id='idxcdssales' class='startofrange'><primary>CDs</primary><secondary>sales levels of</secondary></indexterm>
<para>
Could that be true? Could the industry as a whole be gaining because
of file sharing? Odd as that might sound, the data about CD sales
free, and yet sales revenue dropped by just 6.7 percent, then there is
a huge difference between <quote>downloading a song and stealing a CD.</quote>
</para>
+<indexterm startref='idxcdssales' class='endofrange'/>
<para>
These are the harms—alleged and perhaps exaggerated but, let's
assume, real. What of the benefits? File sharing may impose costs on
publisher or the distributor has decided it no longer makes economic
sense <emphasis>to the company</emphasis> to make it available.
</para>
+<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
<para>
In real space—long before the Internet—the market had a simple
<!-- PAGE BREAK 85 -->
thousands of used book and used record stores in America
today.<footnote><para>
<!-- f16 -->
-While there are not good estimates of the number of used record stores in
-existence, in 2002, there were 7,198 used book dealers in the United States,
-an increase of 20 percent since 1993. See Book Hunter Press, <citetitle>The Quiet
-Revolution: The Expansion of the Used Book Market</citetitle> (2002), available at
-<ulink url="http://free-culture.cc/notes/">link #19</ulink>. Used records accounted for $260 million in sales in 2002. See
- National
-Association of Recording Merchandisers, <quote>2002 Annual Survey
- Results,</quote>
-available at
+<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
+While there are not good estimates of the number of used record stores
+in existence, in 2002, there were 7,198 used book dealers in the
+United States, an increase of 20 percent since 1993. See Book Hunter
+Press, <citetitle>The Quiet Revolution: The Expansion of the Used Book
+Market</citetitle> (2002), available at
+<ulink url="http://free-culture.cc/notes/">link #19</ulink>. Used
+records accounted for $260 million in sales in 2002. See National
+Association of Recording Merchandisers, <quote>2002 Annual Survey
+Results,</quote> available at
<ulink url="http://free-culture.cc/notes/">link #20</ulink>.
</para></footnote>
These stores buy content from owners, then sell the content they
the content they sell.
</para>
<indexterm><primary>Bernstein, Leonard</primary></indexterm>
+<indexterm><primary>books</primary><secondary>out of print</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
stopped, do you think that libraries and used book stores should be
shut as well?
</para>
+<indexterm id='idxbooksfreeonline1' class='startofrange'><primary>books</primary><secondary>free on-line releases of</secondary></indexterm>
<para>
Finally, and perhaps most importantly, file-sharing networks enable
type D sharing to occur—the sharing of content that copyright owners
both he and society are better off. (Actually, much better off: It is a
great book!)
</para>
+<indexterm startref='idxbooksfreeonline1' class='endofrange'/>
<para>
Likewise for work in the public domain: This sharing benefits society
with no legal harm to authors at all. If efforts to solve the problem
legitimate rights of creators while protecting innovation. Sometimes
this has meant more rights for creators. Sometimes less.
</para>
-<indexterm>
- <primary>artists</primary>
- <secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<para>
So, as we've seen, when <quote>mechanical reproduction</quote> threatened the
interests of composers, Congress balanced the rights of composers
creativity it broadcast), Congress rejected their claim. An indirect
benefit was enough.
</para>
+<indexterm id='idxcabletv2' class='startofrange'><primary>cable television</primary></indexterm>
<para>
Cable TV followed the pattern of record albums. When the courts
rejected the claim that cable broadcasters had to pay for the content
<emphasis>compensation</emphasis> without giving the past
(broadcasters) control over the future (cable).
</para>
+<indexterm startref='idxcabletv2' class='endofrange'/>
<indexterm><primary>Betamax</primary></indexterm>
+<indexterm id='idxcassettevcrs1' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
<para>
In the same year that Congress struck this balance, two major
producers and distributors of film content filed a lawsuit against
</para>
<informaltable id="t1">
-<tgroup cols="4" align="char">
+<tgroup cols="4" align="left">
<thead>
<row>
<entry>CASE</entry>
</tbody>
</tgroup>
</informaltable>
-
+<indexterm startref='idxcassettevcrs1' class='endofrange'/>
<para>
In each case throughout our history, a new technology changed the
way content was distributed.<footnote><para>
<title>CHAPTER SIX: Founders</title>
<indexterm><primary>Henry V</primary></indexterm>
<indexterm><primary>Branagh, Kenneth</primary></indexterm>
+<indexterm id='idxbooksenglishlaw' class='startofrange'><primary>books</primary><secondary>English copyright law developed for</secondary></indexterm>
<para>
<emphasis role='strong'>William Shakespeare</emphasis> wrote
<citetitle>Romeo and Juliet</citetitle> in 1595. The play was first
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>
<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
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>
<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.
(1983): 1152.
</para></footnote>
</para>
-<indexterm id="idxmansfield2" class='startofrange'>
- <primary>Mansfield, William Murray, Lord</primary>
-</indexterm>
+<indexterm id="idxmansfield2" class='startofrange'><primary>Mansfield, William Murray, Lord</primary></indexterm>
<para>
Astonishingly to modern lawyers, one of the greatest judges in English
history, Lord Mansfield, agreed with the booksellers. Whatever
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'/>
<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'/>
<!-- PAGE BREAK 106 -->
</chapter>
<chapter label="7" id="recorders">
<chapter label="8" id="transformers">
<title>CHAPTER EIGHT: Transformers</title>
<indexterm><primary>Allen, Paul</primary></indexterm>
-<indexterm id='idxalbenalex1' class='startofrange'>
- <primary>Alben, Alex</primary>
-</indexterm>
+<indexterm id='idxalbenalex1' class='startofrange'><primary>Alben, Alex</primary></indexterm>
<indexterm><primary>Microsoft</primary></indexterm>
<para>
<emphasis role='strong'>In 1993</emphasis>, Alex Alben was a lawyer
investing in new technology for delivering entertainment in
anticipation of the power of networks.
</para>
-<indexterm id='idxartistsretrospective' class='startofrange'>
- <primary>artists</primary>
- <secondary>retrospective compilations on</secondary>
-</indexterm>
+<indexterm id='idxartistsretrospective' class='startofrange'><primary>artists</primary><secondary>retrospective compilations on</secondary></indexterm>
+<indexterm id='idxcdroms' class='startofrange'><primary>CD-ROMs, film clips used in</primary></indexterm>
<para>
Alben had a special interest in new technology. He was intrigued by
the emerging market for CD-ROM technology—not to distribute
publicity—rights an artist has to control the commercial
exploitation of his image. But these rights, too, burden <quote>Rip, Mix,
Burn</quote> creativity, as this chapter evinces.
-<indexterm>
-<primary>artists</primary>
-<secondary>publicity rights on images of</secondary>
-</indexterm>
+<indexterm><primary>artists</primary><secondary>publicity rights on images of</secondary></indexterm>
<indexterm><primary>Alben, Alex</primary></indexterm>
</para></footnote>
</para>
year, how long would it take someone else? And how much creativity is
never made just because the costs of clearing the rights are so high?
</para>
+<indexterm startref='idxcdroms' class='endofrange'/>
<indexterm startref='idxartistsretrospective' class='endofrange'/>
<para>
These costs are the burdens of a kind of regulation. Put on a
</chapter>
<chapter label="9" id="collectors">
<title>CHAPTER NINE: Collectors</title>
-<indexterm id='idxarchivesdigital1' class='startofrange'>
- <primary>archives, digital</primary>
-</indexterm>
+<indexterm id='idxarchivesdigital1' class='startofrange'><primary>archives, digital</primary></indexterm>
+<indexterm><primary>bots</primary></indexterm>
<para>
<emphasis role='strong'>In April 1996</emphasis>, millions of
<quote>bots</quote>—computer codes designed to
again, once every two months, these bits of code took copies of the
Internet and stored them.
</para>
+<indexterm><primary>Way Back Machine</primary></indexterm>
<para>
By October 2001, the bots had collected more than five years of
copies. And at a small announcement in Berkeley, California, the
enter a Web page, and see all of its copies going back to 1996, as
well as when those pages changed.
</para>
-<indexterm id='idxorwellgeorge' class='startofrange'>
- <primary>Orwell, George</primary>
-</indexterm>
+<indexterm id='idxorwellgeorge' class='startofrange'><primary>Orwell, George</primary></indexterm>
<para>
This is the thing about the Internet that Orwell would have
appreciated. In the dystopia described in <citetitle>1984</citetitle>, old newspapers were
library—constantly updated, without any reliable memory.
</para>
<indexterm startref='idxorwellgeorge' class='endofrange'/>
+<indexterm><primary>Way Back Machine</primary></indexterm>
<para>
Until the Way Back Machine, at least. With the Way Back Machine, and
the Internet Archive underlying it, you can see what the Internet
Carnegie of the Internet. By December of 2002, the archive had over 10
billion pages, and it was growing at about a billion pages a month.
</para>
+<indexterm><primary>Library of Congress</primary></indexterm>
+<indexterm><primary>Television Archive</primary></indexterm>
<indexterm><primary>Vanderbilt University</primary></indexterm>
+<indexterm><primary>Way Back Machine</primary></indexterm>
+<indexterm><primary>libraries</primary><secondary>archival function of</secondary></indexterm>
<para>
The Way Back Machine is the largest archive of human knowledge in
human history. At the end of 2002, it held <quote>two hundred and thirty
</para>
<blockquote>
<indexterm><primary>Quayle, Dan</primary></indexterm>
+<indexterm><primary>60 Minutes</primary></indexterm>
<para>
Do you remember when Dan Quayle was interacting with Murphy Brown?
Remember that back and forth surreal experience of a politician
impossible. … Those materials are almost unfindable. …
</para>
</blockquote>
+<indexterm><primary>newspapers</primary><secondary>archives of</secondary></indexterm>
<para>
Why is that? Why is it that the part of our culture that is recorded
in newspapers remains perpetually accessible, while the part that is
once the copyright expired, so that others might access and copy the
work.
</para>
+<indexterm><primary>Library of Congress</primary></indexterm>
+<indexterm><primary>films</primary><secondary>archive of</secondary></indexterm>
<para>
These rules applied to film as well. But in 1915, the Library
of Congress made an exception for film. Film could be copyrighted so
demand them. The content of this part of American culture is
practically invisible to anyone who would look.
</para>
+<indexterm><primary>September 11, 2001, terrorist attacks of</primary></indexterm>
<para>
Kahle was eager to correct this. Before September 11, 2001, he and
<!-- PAGE BREAK 123 -->
events of that day.
</para>
<indexterm><primary>Movie Archive</primary></indexterm>
-<indexterm>
- <primary>archive.org</primary>
- <seealso>Internet Archive</seealso>
-</indexterm>
+<indexterm><primary>archive.org</primary><seealso>Internet Archive</seealso></indexterm>
+<indexterm><primary>films</primary><secondary>archive of</secondary></indexterm>
+<indexterm><primary>Internet Archive</primary></indexterm>
+<indexterm><primary>Duck and Cover film</primary></indexterm>
+<indexterm><primary>ephemeral films</primary></indexterm>
+<indexterm><primary>Prelinger, Rick</primary></indexterm>
<para>
Kahle had the same idea with film. Working with Rick Prelinger, whose
archive of film includes close to 45,000 <quote>ephemeral films</quote> (meaning
the content can continue to inform even if that information is no
longer sold.
</para>
+<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
<para>
The same has always been true about books. A book goes out of print
very quickly (the average today is after about a year<footnote><para>
<!-- f3 -->
+<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
Dave Barns, <quote>Fledgling Career in Antique Books: Woodstock Landlord,
Bar Owner Starts a New Chapter by Adopting Business,</quote> <citetitle>Chicago Tribune</citetitle>,
5 September 1997, at Metro Lake 1L. Of books published between 1927
Kahle describes,
</para>
<blockquote>
-<indexterm>
- <primary>books</primary>
- <secondary>total number of</secondary>
-</indexterm>
+<indexterm><primary>books</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
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 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>
</para>
<indexterm><primary>railroad industry</primary></indexterm>
<indexterm><primary>advertising</primary></indexterm>
+<indexterm><primary>camera technology</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
<para>
Here's the metaphor that will capture the argument to follow.
</para>
-<indexterm id="idxddt" class='startofrange'>
- <primary>DDT</primary>
-</indexterm>
+<indexterm id="idxddt" class='startofrange'><primary>DDT</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
<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><primary>books</primary><secondary>resales of</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
<title>All potential uses of a book.</title>
<graphic fileref="images/1521.png"></graphic>
</figure>
+<indexterm id='idxbooksusetypes' class='startofrange'><primary>books</primary><secondary>three types of uses of</secondary></indexterm>
<para>
<!-- PAGE BREAK 152 -->
Think about a book in real space, and imagine this circle to represent
sorts: (1) unregulated uses, (2) regulated uses, and (3) regulated uses that
are nonetheless deemed <quote>fair</quote> regardless of the copyright owner's views.
</para>
+<indexterm startref='idxbooksusetypes' class='endofrange'/>
+<indexterm><primary>books</primary><secondary>on Internet</secondary></indexterm>
<para>
Enter the Internet—a distributed, digital network where every use
of a copyrighted work produces a copy.<footnote><para>
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>
<para>
But the same book as an e-book is effectively governed by a different
set of rules. Now if the copyright owner says you may read the book
presumptively regulated, then the protections of fair use are not
enough.
</para>
-<indexterm id='idxadvertising2' class='startofrange'>
- <primary>advertising</primary>
-</indexterm>
+<indexterm id='idxadvertising2' class='startofrange'><primary>advertising</primary></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
videos. Video Pipeline got the trailers from the film distributors, put
the trailers on tape, and sold the tapes to the retail stores.
</para>
+<indexterm><primary>browsing</primary></indexterm>
<para>
The company did this for about fifteen years. Then, in 1997, it began
to think about the Internet as another way to distribute these
because the technology builds a copy into every transaction.
</para>
<indexterm><primary>Barnes & Noble</primary></indexterm>
+<indexterm><primary>browsing</primary></indexterm>
<para>
<!-- PAGE BREAK 158 -->
No doubt, a potential is not yet an abuse, and so the potential for
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>
<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
<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>
often crazy.
</para>
<indexterm startref="idxadobeebookreader" class='endofrange'/>
+<indexterm startref='idxbooksoninternet' 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
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
</para>
<indexterm><primary>Aibo robotic dog</primary></indexterm>
<indexterm><primary>robotic dog</primary></indexterm>
-<indexterm>
- <primary>Sony</primary>
- <secondary>Aibo robotic dog produced by</secondary>
-</indexterm>
+<indexterm><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
<para>
Aibopet.com and Felten make the point. The Aibo hack circumvented a
copyright protection system for the purpose of enabling the dog to
his academic paper was enabling others to infringe others' copyright.
</para>
<indexterm><primary>Rogers, Fred</primary></indexterm>
+<indexterm id='idxcassettevcrs2' class='startofrange'><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
<para>
The bizarreness of these arguments is captured in a cartoon drawn in
1981 by Paul Conrad. At that time, a court in California had held that
in the control of his or her life, in a healthy way, is
important.<footnote><para>
<!-- f23 -->
+<indexterm><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal City Studios, Inc</citetitle>., 464 U.S. 417,
455 fn. 27 (1984). Rogers never changed his view about the VCR. See
James Lardner, <citetitle>Fast Forward: Hollywood, the Japanese, and the Onslaught of
to enable the use of particular copyrighted materials in ways that
would be considered fair use—a good end.
</para>
-<indexterm id='idxhandguns' class='startofrange'>
- <primary>handguns</primary>
-</indexterm>
+<indexterm id='idxhandguns' class='startofrange'><primary>handguns</primary></indexterm>
<para>
A handgun can be used to shoot a police officer or a child. Most
<!-- PAGE BREAK 171 -->
good, but permits guns, despite the obvious and tragic harm they do.
</para>
<indexterm startref='idxhandguns' class='endofrange'/>
+<indexterm startref='idxcassettevcrs2' class='endofrange'/>
<indexterm><primary>Aibo robotic dog</primary></indexterm>
<indexterm><primary>robotic dog</primary></indexterm>
-<indexterm>
- <primary>Sony</primary>
- <secondary>Aibo robotic dog produced by</secondary>
-</indexterm>
+<indexterm><primary>Sony</primary><secondary>Aibo robotic dog produced by</secondary></indexterm>
<para>
The Aibo and RIAA examples demonstrate how copyright owners are
changing the balance that copyright law grants. Using code, copyright
that space to do as you wished with this part of our culture. You were
allowed to build on it as you wished without fear of legal control.
</para>
+<indexterm><primary>bots</primary></indexterm>
<para>
But if you moved your club onto the Internet, and made it generally
available for others to join, the story would be very different. Bots
These changes are of two sorts: the scope of concentration, and its
nature.
</para>
+<indexterm><primary>cable television</primary></indexterm>
<para>
Changes in scope are the easier ones to describe. As Senator John
McCain summarized the data produced in the FCC's review of media
market's revenues. Overall, just four companies control 90 percent of
the nation's radio advertising revenues.
</para>
+<indexterm><primary>cable television</primary></indexterm>
<para>
Newspaper ownership is becoming more concentrated as well. Today,
there are six hundred fewer daily newspapers in the United States than
depend fundamentally upon the press to help inform Americans about
these issues.
</para>
-<indexterm id='idxadvertising3' class='startofrange'>
- <primary>advertising</primary>
-</indexterm>
+<indexterm id='idxadvertising3' class='startofrange'><primary>advertising</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
</para>
<informaltable id="t2">
-<tgroup cols="3" align="char">
+<tgroup cols="3" align="left">
<thead>
<row>
<entry></entry>
</para>
<informaltable id="t3">
-<tgroup cols="3" align="char">
+<tgroup cols="3" align="left">
<thead>
<row>
<entry></entry>
</para>
<informaltable id="t4">
-<tgroup cols="3" align="char">
+<tgroup cols="3" align="left">
<thead>
<row>
<entry></entry>
</para>
<informaltable id="t5">
-<tgroup cols="3" align="char">
+<tgroup cols="3" align="left">
<thead>
<row>
<entry></entry>
<!-- 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>
+<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
MP3.com offered creators a venue to distribute their creativity,
without demanding an exclusive engagement from the creators.
</para>
+<indexterm><primary>Lovett, Lyle</primary></indexterm>
+<indexterm id='idxcdsprefdata' class='startofrange'><primary>CDs</primary><secondary>preference data on</secondary></indexterm>
<para>
To make this system work, however, MP3.com needed a reliable way to
recommend music to its users. The idea behind this alternative was to
leverage the revealed preferences of music listeners to recommend new
artists. If you like Lyle Lovett, you're likely to enjoy Bonnie
Raitt. And so on.
-<indexterm><primary>Lovett, Lyle</primary></indexterm>
</para>
<para>
This idea required a simple way to gather data about user preferences.
as a by-product, by seeing the content they already owned, to discover
the kind of content the users liked.
</para>
+<indexterm startref='idxcdsprefdata' class='endofrange'/>
<para>
To make this system function, however, MP3.com needed to copy 50,000
CDs to a server. (In principle, it could have been the user who
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>
<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
</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
When done right, it benefits creators and harms leeches. When done
wrong, it is regulation the powerful use to defeat competitors.
</para>
+<indexterm><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
+<indexterm><primary>VCRs</primary></indexterm>
<para>
As I described in chapter <xref xrefstyle="select: labelnumber"
linkend="property-i"/>, despite this feature of copyright as
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>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<para>
<!-- PAGE BREAK 204 -->
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='idxartistspayments2' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</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
differences? Was the motive to protect artists against piracy?
</para>
<indexterm><primary>Real Networks</primary></indexterm>
-<indexterm id='idxalbenalex2' class='startofrange'>
- <primary>Alben, Alex</primary>
-</indexterm>
+<indexterm id='idxalbenalex2' class='startofrange'><primary>Alben, Alex</primary></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
high, you're going to drive the small webcasters out of
business. …</quote>
</para>
-<indexterm>
- <primary>artists</primary>
- <secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
<para>
And the RIAA experts said, <quote>Well, we don't really model this as an
industry with thousands of webcasters, <emphasis>we think it should be
right: In a series of commercials, Apple endorsed the <quote>Rip, Mix, Burn</quote>
capacities of digital technologies.
</para>
-<indexterm><primary>Adromeda</primary></indexterm>
+<indexterm><primary>Andromeda</primary></indexterm>
+<indexterm id='idxcdsmix' class='startofrange'><primary>CDs</primary><secondary>mix technology and</secondary></indexterm>
<para>
This <quote>use</quote> of my records is certainly valuable. I have begun a large
process at home of ripping all of my and my wife's CDs, and storing
plastic or were part of a massively complex <quote>digital rights
management</quote> system.
</para>
+<indexterm startref='idxcdsmix' class='endofrange'/>
<para>
If the only way to assure that artists get paid were the elimination
of the ability to freely move content, then these technologies to
tradition as deep and important as our tradition of free culture.
</para>
<indexterm><primary>Electronic Frontier Foundation</primary></indexterm>
-<indexterm id='idxisps' class='startofrange'>
- <primary>ISPs (Internet service providers), user identities revealed by</primary>
-</indexterm>
+<indexterm id='idxisps' class='startofrange'><primary>ISPs (Internet service providers), user identities revealed by</primary></indexterm>
<para>
<emphasis role='strong'>There's one more</emphasis> aspect to this
corruption that is particularly important to civil liberties, and
<!-- PAGE BREAK 220 -->
<chapter label="13" id="eldred">
<title>CHAPTER THIRTEEN: Eldred</title>
-<indexterm id="idxhawthornenathaniel" class='startofrange'>
- <primary>Hawthorne, Nathaniel</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
consequence
for other creative works is much more dire.
</para>
-<indexterm id='idxageemichael' class='startofrange'>
- <primary>Agee, Michael</primary>
-</indexterm>
+<indexterm id='idxageemichael' class='startofrange'><primary>Agee, Michael</primary></indexterm>
<indexterm><primary>Hal Roach Studios</primary></indexterm>
<indexterm><primary>Laurel and Hardy Films</primary></indexterm>
<para>
<para>
But this situation has now changed.
</para>
-<indexterm id='idxarchivesdigital2' class='startofrange'>
- <primary>archives, digital</primary>
-</indexterm>
+<indexterm id='idxarchivesdigital2' class='startofrange'><primary>archives, digital</primary></indexterm>
<para>
One crucially important consequence of the emergence of digital
technologies is to enable the archive that Brewster Kahle dreams of.
assure that Congress's powers had limits.
</para>
<indexterm><primary>Breyer, Stephen</primary></indexterm>
-<indexterm id='idxginsburg' class='startofrange'>
- <primary>Ginsburg, Ruth Bader</primary>
-</indexterm>
+<indexterm id='idxginsburg' class='startofrange'><primary>Ginsburg, Ruth Bader</primary></indexterm>
<para>
The Rest were the four Justices who had strongly opposed limits on
Congress's power. These four—Justice Stevens, Justice Souter,
</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>
+<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>
<para>
<emphasis role='strong'>There are more</emphasis> than 35 million
people with the AIDS virus worldwide. Twenty-five million of them live
produce the <quote>perfect storm</quote> for free culture.
</para>
<indexterm><primary>Reagan, Ronald</primary></indexterm>
-<indexterm id='idxbiomedicalresearch' class='startofrange'>
- <primary>biomedical research</primary>
-</indexterm>
+<indexterm id='idxbiomedicalresearch' class='startofrange'><primary>biomedical research</primary></indexterm>
<indexterm><primary>Wellcome Trust</primary></indexterm>
<para>
<emphasis role='strong'>In August 2003</emphasis>, a fight broke out
thus the meeting about <quote>open and collaborative projects to create
public goods</quote> seemed perfectly appropriate within the WIPO agenda.
</para>
+<indexterm><primary>Apple Corporation</primary></indexterm>
<para>
But there is one project within that list that is highly
controversial, at least among lobbyists. That project is <quote>open source
powerful software producer in the United States having succeeded in
its lobbying efforts.
</para>
+<indexterm><primary>Boland, Lois</primary></indexterm>
<para>
What was surprising was the United States government's reason for
opposing the meeting. Again, as reported by Krim, Lois Boland, acting
is supposed to be about: giving individuals the right to decide what
to do with <emphasis>their</emphasis> property.
</para>
+<indexterm id='idxboland' class='startofrange'><primary>Boland, Lois</primary></indexterm>
<para>
When Ms. Boland says that there is something wrong with a meeting
<quote>which has as its purpose to disclaim or waive such rights,</quote> she's
whether Republican or Democrat. My only illusion apparently is about
whether our government should speak the truth or not.)
</para>
+<indexterm startref='idxboland' class='endofrange'/>
<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><primary>CodePink Women in Peace</primary></indexterm>
-<indexterm><primary>Safire, William</primary></indexterm>
-<indexterm><primary>Turner, Ted</primary></indexterm>
<para>
If this is crazy, then let there be more crazies. Soon.
</para>
+<indexterm><primary>CodePink Women in Peace</primary></indexterm>
+<indexterm><primary>Safire, William</primary></indexterm>
+<indexterm><primary>Turner, Ted</primary></indexterm>
<para>
<emphasis role='strong'>There are moments</emphasis> of hope in this
struggle. And moments that surprise. When the FCC was considering
</para>
<indexterm><primary>Causby, Thomas Lee</primary></indexterm>
<indexterm><primary>Causby, Tinie</primary></indexterm>
-<indexterm><primary>Creative Commons</primary></indexterm>
-<indexterm><primary>Gil, Gilberto</primary></indexterm>
<indexterm><primary>BBC</primary></indexterm>
<indexterm><primary>Brazil, free culture in</primary></indexterm>
+<indexterm><primary>Creative Commons</primary></indexterm>
+<indexterm><primary>Gil, Gilberto</primary></indexterm>
+<indexterm><primary>United Kingdom</primary><secondary>public creative archive in</secondary></indexterm>
<para>
Yet on the other side of the Atlantic, the BBC has just announced
that it will build a <quote>Creative Archive,</quote> from which British citizens can
<section id="examples">
<title>Rebuilding Freedoms Previously Presumed: Examples</title>
+<indexterm id='browsing' class='startofrange'><primary>browsing</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
electronic spaces, then the friction-induced privacy of yesterday
disappears.
</para>
+<indexterm startref='browsing' 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
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="idxacademocjournals" class='startofrange'><primary>academic journals</primary></indexterm>
<para>
As digital technologies develop, it is becoming obvious to many that
printing thousands of copies of journals every month and sending them
</section>
<section id="oneidea">
<title>Rebuilding Free Culture: One Idea</title>
-<indexterm id="idxcc" class='startofrange'>
- <primary>Creative Commons</primary>
-</indexterm>
+<indexterm id="idxcc" 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.
them—are needed. Creative Commons gives people a way effectively
to begin to build those rules.
</para>
+<indexterm id='idxbooksfreeonline2' class='startofrange'><primary>books</primary><secondary>free on-line releases of</secondary></indexterm>
<para>
Why would creators participate in giving up total control? Some
participate to better spread their content. Cory Doctorow, for
publisher had expected. This first novel of a science fiction author
was a total success.
</para>
+<indexterm><primary>Free for All (Wayner)</primary></indexterm>
+<indexterm><primary>Wayner, Peter</primary></indexterm>
<para>
The idea that free content might increase the value of nonfree content
was confirmed by the experience of another author. Peter Wayner,
used book store prices for the book. As predicted, as the number of
downloads increased, the used book price for his book increased, as
well.
-<indexterm><primary>Free for All (Wayner)</primary></indexterm>
-<indexterm><primary>Wayner, Peter</primary></indexterm>
</para>
+<indexterm startref='idxbooksfreeonline2' class='endofrange'/>
<indexterm><primary>Public Enemy</primary></indexterm>
<indexterm><primary>rap music</primary></indexterm>
<indexterm><primary>Leaphart, Walter</primary></indexterm>
Copyright Office's role to that of approving standards for marking
content that have been crafted elsewhere.
</para>
+<indexterm><primary>CDs</primary><secondary>copyright marking of</secondary></indexterm>
<para>
For example, if a recording industry association devises a method for
marking CDs, it would propose that to the Copyright Office. The
<section id="freefairuse">
<title>3. Free Use Vs. Fair Use</title>
<indexterm><primary>land ownership, air traffic and</primary></indexterm>
-<indexterm>
- <primary>property rights</primary>
- <secondary>air traffic vs.</secondary>
-</indexterm>
+<indexterm><primary>property rights</primary><secondary>air traffic vs.</secondary></indexterm>
<para>
As I observed at the beginning of this book, property law originally
granted property owners the right to control their property from the
owner plainly endorses.
</para></listitem>
</orderedlist>
+<indexterm><primary>cassette recording</primary><secondary>VCRs</secondary></indexterm>
+<indexterm><primary>VCRs</primary></indexterm>
<para>
Any reform of the law needs to keep these different uses in focus. It
must avoid burdening type D even if it aims to eliminate type A. The
law should be to facilitate the access to this content, ideally in a
way that returns something to the artist.
</para>
+<indexterm><primary>books</primary><secondary>out of print</secondary></indexterm>
+<indexterm><primary>books</primary><secondary>resales of</secondary></indexterm>
<para>
Again, the model here is the used book store. Once a book goes out of
print, it may still be available in libraries and used book
floated by Harvard law professor William Fisher.<footnote>
<para>
<!-- f9. -->
-<indexterm id='idxartistspayments3' class='startofrange'>
- <primary>artists</primary>
- <secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm id='idxartistspayments3' class='startofrange'><primary>artists</primary><secondary>recording industry payments to</secondary></indexterm>
William Fisher, <citetitle>Digital Music: Problems and Possibilities</citetitle> (last
revised: 10 October 2000), available at
<ulink url="http://free-culture.cc/notes/">link #77</ulink>; William
longer necessary, then the system could lapse into the old system of
controlling access.
</para>
-<indexterm>
- <primary>artists</primary>
- <secondary>recording industry payments to</secondary>
-</indexterm>
+<indexterm><primary>artists</primary><secondary>recording industry payments to</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
semiotic democracy if there were few limitations on what one was
allowed to do with the content itself.
</para>
+<indexterm><primary>Apple Corporation</primary></indexterm>
+<indexterm><primary>MusicStore</primary></indexterm>
<indexterm><primary>Real Networks</primary></indexterm>
+<indexterm><primary>CDs</primary><secondary>prices of</secondary></indexterm>
<para>
No doubt it would be difficult to calculate the proper measure of
<quote>harm</quote> to an industry. But the difficulty of making that calculation
there will be a great deal of competition to offer and sell music
on-line.
</para>
+<indexterm><primary>cable television</primary></indexterm>
+<indexterm><primary>television</primary><secondary>cable vs. broadcast</secondary></indexterm>
<indexterm><primary>Asia, commercial piracy in</primary></indexterm>
+<indexterm><primary>piracy</primary><secondary>in Asia</secondary></indexterm>
+<indexterm><primary>film industry</primary><secondary>luxury theatres vs. video piracy in</secondary></indexterm>
<para>
This competition has already occurred against the background of <quote>free</quote>
music from p2p systems. As the sellers of cable television have known
the unwillingness of the profession to question or counter that one
strong view queers the law.
</para>
+<indexterm><primary>Nimmer, Melville</primary></indexterm>
+<indexterm><primary>Sonny Bono Copyright Term Extension Act (CTEA) (1998)</primary><secondary>Supreme Court challenge of</secondary></indexterm>
<para>
The evidence of this bending is compelling. I'm attacked as a
<quote>radical</quote> by many within the profession, yet the positions that I am
disappeared, you will be redirected to an appropriate reference for
the material.
</para>
+
+<!-- insert endnotes here -->
+
<!--PAGE BREAK 336-->
</chapter>
projects / text-free-culture-lessig.git / blobdiff