<!-- 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
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-Internet or via any other means without the permission of the
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-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>
<para>
<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
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
<!-- 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>
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
<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
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>
<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
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>
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>
<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
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
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>
</para></footnote>
</para>
<para>
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
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>
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>
<para>
The charge I've been making about the regulation of culture is the
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
<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
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.
<!-- 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
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 -->
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
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
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
<!-- 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. -->
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
</chapter>
<index></index>
+<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>
</book>
projects / text-free-culture-lessig.git / blobdiff