X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/blobdiff_plain/d5d0a448a6bb3690370cf47a03f869041ac5df05..2cfe8acad639945ae30c388a0f041391107b5212:/freeculture.xml diff --git a/freeculture.xml b/freeculture.xml index a83831f..a1d4670 100644 --- a/freeculture.xml +++ b/freeculture.xml @@ -1,27 +1,29 @@ + by Petter Reinholdtsen 2012-2015 with input from Martin Borg. --> - ]> + Free Culture "freeculture" - HOW BIG MEDIA USES TECHNOLOGY AND THE LAW TO LOCK DOWN - CULTURE AND CONTROL CREATIVITY + How big media uses technology and the law to lock down + culture and control creativity + + 2015-09-04 - 2004-03-25 + 1 Version 2004-02-10 @@ -90,21 +92,20 @@ -This version of Free Culture is licensed under -a Creative Commons license. This license permits non-commercial use of -this work, so long as attribution is given. For more information -about the license, click the icon above, or visit -http://creativecommons.org/licenses/by-nc/1.0/ +This book is licensed under a Creative Commons license. This license +permits non-commercial use of this work, so long as attribution is +given. For more information about the license visit +. - ABOUT THE AUTHOR + About the author -LAWRENCE LESSIG +Lawrence Lessig (http://www.lessig.org), -professor of law and a John A. Wilson Distinguished Faculty Scholar -at Stanford Law School, is founder of the Stanford Center for Internet +professor of law and a Roy L. Furman Professor of Law and Leadership +at Harvard Law School, is founder of the Stanford Center for Internet and Society and is chairman of the Creative Commons (http://creativecommons.org). The author of The Future of Ideas (Random House, 2001) and Code: And @@ -112,11 +113,11 @@ Other Laws of Cyberspace (Basic Books, 1999), Lessig is a member of the boards of the Public Library of Science, the Electronic Frontier Foundation, and Public Knowledge. He was the winner of the Free Software Foundation's Award for the Advancement of Free Software, -twice listed in BusinessWeek's e.biz 25, and named one of Scientific -American's 50 visionaries. A graduate of the University of -Pennsylvania, Cambridge University, and Yale Law School, Lessig -clerked for Judge Richard Posner of the U.S. Seventh Circuit Court of -Appeals. +twice listed in BusinessWeek's e.biz 25, and named one +of Scientific American's 50 visionaries. A graduate of +the University of Pennsylvania, Cambridge University, and Yale Law +School, Lessig clerked for Judge Richard Posner of the U.S. Seventh +Circuit Court of Appeals. @@ -138,54 +139,58 @@ Appeals. --> - 978-82-92812-XX-Y + 978-82-8067-010-6 2003063276 + http://free-culture.cc/ + - - -ALSO BY LAWRENCE LESSIG - - - -The USA is lesterland: The nature of congressional corruption - - - -Republic, lost: How money corrupts Congress - and a plan to stop it - - - -Remix: Making art and commerce thrive in the hybrid economy - - - -Code: Version 2.0 - - - -The Future of Ideas: The Fate of the Commons in a Connected World - - - -Code: And Other Laws of Cyberspace - + +Also by Lawrence Lessig + + + + + +The USA is lesterland: The nature of congressional corruption (2014) + + +Republic, lost: How money corrupts Congress - and a plan to stop it (2011) + + +Remix: Making art and commerce thrive in the hybrid economy (2008) + + +Code: Version 2.0 (2006) + + +The Future of Ideas: The Fate of the Commons in a Connected World (2001) + + +Code: And Other Laws of Cyberspace (1999) + + + + To Eric Eldred — whose work first drew me to this cause, and for whom it continues still. + @@ -253,7 +258,7 @@ c INDEX -PREFACE +Preface Pogue, David At the end of his review of my first @@ -407,8 +412,8 @@ book is written. - -INTRODUCTION + +Introduction Wright brothers On December 17, 1903, on a windy North Carolina beach for just @@ -754,6 +759,7 @@ has introduced. Barlow, Joel +culturefree culture culturecommercial vs. noncommercial Webster, Noah @@ -932,7 +938,7 @@ independent. We have built a kind of cultural nobility; those within the noble class live easily; those outside it don't. But it is nobility of any form that is alien to our tradition. - + The story that follows is about this war. It is not about the centrality of technology to ordinary life. I don't believe in gods, @@ -1064,7 +1070,7 @@ to which most of us remain oblivious. -<quote>PIRACY</quote> +<quote>Piracy</quote> copyright lawEnglish @@ -1139,6 +1145,7 @@ piracy. ASCAP Dreyfuss, Rochelle Girl Scouts +creative propertyintellectual property rights creative propertyif value, then right theory of if value, then right theory @@ -1175,6 +1182,7 @@ creative property. It has never taken hold within our law. copyright lawon republishing vs. transformation of original work +creativityinnovation creativitylegal restrictions on Instead, in our tradition, intellectual property is an instrument. It @@ -1247,7 +1255,7 @@ context the current battles about behavior labeled piracy. -CHAPTER ONE: Creators +Chapter One: Creators animated cartoons cartoon films filmsanimated @@ -1423,6 +1431,7 @@ culture around us and makes it something different. +copyrightcopyright law copyrightduration of public domaindefined public domaintraditional term for conversion to @@ -1776,7 +1785,7 @@ free culture. It is becoming much less so. -CHAPTER TWO: <quote>Mere Copyists</quote> +Chapter Two: <quote>Mere Copyists</quote> Daguerre, Louis camera technology photography @@ -2272,8 +2281,6 @@ your hoops. They actually needed to use a language that they didn't speak very well. But they had come to understand that they had a lot of power with this language. - @@ -2304,6 +2311,9 @@ entertainment is tragedy. ABC CBS +Cyber Rights (Godwin) +Godwin, Mike +Internetnews events on But in addition to this produced news about the tragedy of September 11, those of us tied to the Internet came to see a very different @@ -2351,6 +2361,7 @@ such as in Japan, it functions very much like a diary. In those cultures, it records private facts in a public way—it's a kind of electronic Jerry Springer, available anywhere in the world. + political discourse Internetpublic discourse conducted on @@ -2724,13 +2735,14 @@ natural tendencies of today's digital kids. … We're building an architecture that unleashes 60 percent of the brain [and] a legal system that closes down that part of the brain. - We're building a technology that takes the magic of Kodak, mixes moving images and sound, and adds a space for commentary and an opportunity to spread that creativity everywhere. But we're building the law to close down that technology. +Kahle, Brewster + No way to run a culture, as Brewster Kahle, whom we'll meet in chapter , @@ -2739,7 +2751,7 @@ quipped to me in a rare moment of despondence. -CHAPTER THREE: Catalogs +Chapter Three: Catalogs Jordan, Jesse RPIRensselaer Polytechnic Institute (RPI) Rensselaer Polytechnic Institute (RPI) @@ -2997,7 +3009,7 @@ wrong message. And he wants to correct the record. -CHAPTER FOUR: <quote>Pirates</quote> +Chapter Four: <quote>Pirates</quote> piracyin development of content industry if value, then right theory @@ -3013,6 +3025,9 @@ now.
Film +Hollywood film industryfilm industry +Hollywood film industry +patentson film technology The film industry of Hollywood was built by fleeing pirates. @@ -3090,6 +3105,7 @@ filmmakers there could pirate his inventions without fear of the law. And the leaders of Hollywood filmmaking, Fox most prominently, did just that. + Of course, California grew quickly, and the effective enforcement of federal law eventually spread west. But because patents grant the @@ -3100,6 +3116,7 @@ time), by the time enough federal marshals appeared, the patents had expired. A new industry had been born, in part from the piracy of Edison's creative property. +
Recorded Music @@ -3349,6 +3366,7 @@ As I described above, the law gives the composer (or copyright holder) an exclusive right to public performances of his work. The radio station thus owes the composer money for that performance. +radiomusic recordings played on But when the radio station plays a record, it is not only performing a copy of the composer's work. The radio station is @@ -3390,6 +3408,7 @@ the sale of her CDs. The public performance of her recording is not a her anything. + No doubt, one might argue that, on balance, the recording artists @@ -3545,7 +3564,7 @@ last. Every generation—until now.
-CHAPTER FIVE: <quote>Piracy</quote> +Chapter Five: <quote>Piracy</quote> There is piracy of copyrighted material. Lots of it. This piracy comes in many forms. The most @@ -3698,6 +3717,7 @@ permission of a property owner. That is exactly what property mea Asia, commercial piracy in piracyin Asia +open-source softwarefree software/open-source software (FS/OSS) free software/open-source software (FS/OSS) GNU/Linux operating system Linux operating system @@ -3798,6 +3818,7 @@ author of his profit. Fanning, Shawn +innovationcreativity innovation Napster Peer-to-peer sharing was made famous by Napster. But the inventors of @@ -4122,6 +4143,7 @@ publisher or the distributor has decided it no longer makes economic sense to the company to make it available. booksresales of +used record sales In real space—long before the Internet—the market had a simple @@ -4304,6 +4326,7 @@ companies the right to the content, so long as they paid the statutory price. +copyright lawtwo central goals of @@ -4327,6 +4350,7 @@ Congress chose a path that would assure Betamax cassette recordingVCRs +SonyBetamax technology developed by In the same year that Congress struck this balance, two major producers and distributors of film content filed a lawsuit against @@ -4399,6 +4423,7 @@ of Jack Valenti). + It took eight years for this case to be resolved by the Supreme Court. In the interim, the Ninth Circuit Court of Appeals, which @@ -4603,7 +4628,7 @@ is protected. -<quote>PROPERTY</quote> +<quote>Property</quote> @@ -4684,7 +4709,7 @@ from the implications that the copyright warriors would have us draw. -CHAPTER SIX: Founders +Chapter Six: Founders booksEnglish copyright law developed for copyright lawdevelopment of copyright lawEnglish @@ -5287,7 +5312,7 @@ protected. -CHAPTER SEVEN: Recorders +Chapter Seven: Recorders copyright lawfair use and documentary film Else, Jon @@ -5520,7 +5545,7 @@ not. -CHAPTER EIGHT: Transformers +Chapter Eight: Transformers Allen, Paul Alben, Alex Microsoft @@ -5881,7 +5906,7 @@ curse, reserved for the few. -CHAPTER NINE: Collectors +Chapter Nine: Collectors archives, digital bots @@ -5935,6 +5960,7 @@ perhaps, you also have the power to find what you don't remember and what others might prefer you forget. Iraq war +Kahle, Brewster White House press releases The temptations remain, however. Brewster Kahle reports that the White House changes its own press releases without notice. A May 13, 2003, @@ -5975,6 +6001,7 @@ think that we have scads of archives of newspapers from tiny towns around the world, yet there is but one copy of the Internet—the one kept by the Internet Archive. +Kahle, Brewster Brewster Kahle is the founder of the Internet Archive. He was a very successful Internet entrepreneur after he was a successful computer @@ -6242,12 +6269,14 @@ someone's property. And the law of property restricts the freedom that Kahle and others would exercise. + -CHAPTER TEN: <quote>Property</quote> +Chapter Ten: <quote>Property</quote> Johnson, Lyndon Kennedy, John F. +Valenti, Jackbackground of Jack Valenti has been the president of the Motion Picture Association of America since 1966. He first came @@ -6277,6 +6306,7 @@ in the United States: Walt Disney, Sony Pictures Entertainment, MGM, Paramount Pictures, Twentieth Century Fox, Universal Studios, and Warner Brothers. +Valenti, Jackbackground of Valenti is only the third president of the MPAA. No president before @@ -6346,6 +6376,7 @@ have no reasonable connection to our actual legal tradition, even if the subtle pull of his Texan charm has slowly redefined that tradition, at least in Washington. + While creative property is certainly property in a nerdy and precise sense that lawyers are trained to understand, @@ -6488,7 +6519,7 @@ how four different modalities of regulation interact to support or weaken the right or regulation. I represented it with this diagram:
-How four different modalities of regulation interact to support or weaken the right or regulation. +
Madonna @@ -6617,7 +6648,7 @@ driving.
-Law has a special role in affecting the three. +
@@ -6681,7 +6712,7 @@ Let's say this is the picture of copyright's regulation before the Internet:
-Copyright's regulation before the Internet. +
@@ -6727,7 +6758,7 @@ after the fall of Saddam, but this time no government is justifying the looting that results.
-effective state of anarchy after the Internet. +
@@ -6986,12 +7017,16 @@ The power to establish creative property rights is granted to Congress in a way that, for our Constitution, at least, is very odd. Article I, section 8, clause 8 of our Constitution states that: +
Congress has the power to promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries. + +
+ We can call this the Progress Clause, for notice what this clause does not say. It does not say Congress has the power to grant creative property rights. It says that Congress has the power @@ -7051,14 +7086,14 @@ particular concentration of market power. In terms of our model, we started here:
-Copyright's regulation before the Internet. +
We will end here:
-<quote>Copyright</quote> today. +
@@ -7194,6 +7229,7 @@ from 14 years to 28 years. In the next fifty years of the Republic, the term increased once again. In 1909, Congress extended the renewal term of 14 years to 28 years, setting a maximum term of 56 years. +CTEASonny Bono Copyright Term Extension Act (CTEA) (1998) Sonny Bono Copyright Term Extension Act (CTEA) (1998) public domainfuture patents vs. future copyrights in @@ -7553,8 +7589,8 @@ We can see this point abstractly by beginning with this largely empty circle.
-All potential uses of a book. - + +
booksthree types of uses of copyright lawcopies as core issue of @@ -7577,8 +7613,8 @@ it up, those acts are not regulated by copyright law, because those acts do not make a copy.
-Examples of unregulated uses of a book. - + +
Obviously, however, some uses of a copyrighted book are regulated @@ -7586,10 +7622,14 @@ by copyright law. Republishing the book, for example, makes a copy. It is therefore regulated by copyright law. Indeed, this particular use stands at the core of this circle of possible uses of a copyrighted work. It is the paradigmatic use properly regulated by copyright regulation (see -diagram in ). +diagram in figure ). +
+ + +
fair use copyright lawfair use and @@ -7597,10 +7637,6 @@ Finally, there is a tiny sliver of otherwise regulated copying uses that remain unregulated because the law considers these fair uses. -
-Republishing stands at the core of this circle of possible uses of a copyrighted work. - -
Constitution, U.S.First Amendment to First Amendment @@ -7614,13 +7650,8 @@ but the law denies the owner any exclusive right over such fair uses
-Unregulated copying considered <quote>fair uses.</quote> - -
- -
-Uses that before were presumptively unregulated are now presumptively regulated. - + +
copyrightusage restrictions attached to @@ -7682,6 +7713,10 @@ then whenever you read the book (or any portion of it) beyond the fifth time, you are making a copy of the book contrary to the copyright owner's wish. +
+ + +
There are some people who think this makes perfect sense. My aim just now is not to argue about whether it makes sense or not. My aim @@ -7939,9 +7974,14 @@ software that publishers use to deliver e-books. It provides the technology, and the publisher delivers the content by using the technology. +
+ + +
-In is a picture of an old version of my -Adobe eBook Reader. +In figure + +is a picture of an old version of my Adobe eBook Reader. As you can see, I have a small collection of e-books within this @@ -7956,16 +7996,12 @@ copy of Middlemarch, you'll see a fancy cover, and then a button at the bottom called Permissions. -
-Picture of an old version of Adobe eBook Reader - -
If you click on the Permissions button, you'll see a list of the permissions that the publisher purports to grant with this book.
-List of the permissions that the publisher purports to grant. +
@@ -7984,8 +8020,8 @@ Here's the e-book for another work in the public domain (including the translation): Aristotle's Politics.
-E-book of Aristotle;s <quote>Politics</quote> - + +
According to its permissions, no printing or copying is permitted @@ -7993,7 +8029,7 @@ at all. But fortunately, you can use the Read Aloud button to hear the book.
-List of the permissions for Aristotle;s <quote>Politics</quote>. +
Future of Ideas, The (Lessig) @@ -8005,7 +8041,7 @@ Ideas:
-List of the permissions for <quote>The Future of Ideas</quote>. +
@@ -8090,8 +8126,7 @@ domain. Yet when you clicked on Permissions for that book, you got the following report:
-List of the permissions for <quote>Alice's Adventures in -Wonderland</quote>. +
@@ -8415,13 +8450,21 @@ some uses that were illegal, the court held the companies producing the VCR responsible. -This led Conrad to draw the cartoon below, which we can adopt to -the DMCA. +This led Conrad to draw the cartoon in figure +, which we can adopt to the +DMCA. Conrad, Paul No argument I have can top this picture, but let me try to get close. +
+— On which item have the courts ruled that manufacturers and +retailers be held responsible for having supplied the +equipment? + +
The anticircumvention provisions of the DMCA target copyright circumvention technologies. Circumvention technologies can be used for @@ -8439,10 +8482,6 @@ practice or to protect against an intruder. At least some would say that such a use would be good. It, too, is a technology that has both good and bad uses. -
-VCR/handgun cartoon. - -
Conrad, Paul The obvious point of Conrad's cartoon is the weirdness of a world @@ -8599,6 +8638,7 @@ Molly Ivins, Media Consolidation Must Be Stopped, Char 31 May 2003. +radioownership consolidation in The story with radio is even more dramatic. Before deregulation, the nation's largest radio broadcasting conglomerate owned fewer than @@ -8647,6 +8687,7 @@ James Fallows, The Age of Murdoch, Atlantic Monthly + The pattern with Murdoch is the pattern of modern media. Not just large companies owning many radio stations, but a few companies @@ -8654,8 +8695,8 @@ owning as many outlets of media as possible. A picture describes this pattern better than a thousand words could do:
-Pattern of modern media ownership. - + +
@@ -8821,6 +8862,7 @@ In addition to the copyright wars, we're in the middle of the drug wars. Government policy is strongly directed against the drug cartels; criminal and civil courts are filled with the consequences of this battle. +criminal justice system Let me hereby disqualify myself from any possible appointment to any position in government by saying I believe this war is a profound @@ -9264,11 +9306,11 @@ lawyer. -PUZZLES +Puzzles -CHAPTER ELEVEN: Chimera +Chapter Eleven: Chimera chimeras Wells, H. G. Country of the Blind, The (Wells) @@ -9547,7 +9589,7 @@ and will kill opportunities that could be extraordinarily valuable. -CHAPTER TWELVE: Harms +Chapter Twelve: Harms To fight piracy, to protect property, the content industry has launched a @@ -10225,6 +10267,8 @@ the story of the demise of Internet radio. artistsrecording industry payments to Kennedy, John F. +Monroe, Marilyn +radiomusic recordings played on @@ -10249,6 +10293,7 @@ than with the power of radio stations: Their lobbyists were quite good at stopping any efforts to get Congress to require compensation to the recording artists. + Enter Internet radio. Like regular radio, Internet radio is a technology to stream content from a broadcaster to a listener. The @@ -10965,7 +11010,7 @@ effort through our democracy to change our law? -BALANCES +Balances @@ -11024,7 +11069,7 @@ success will require. -CHAPTER THIRTEEN: Eldred +Chapter Thirteen: Eldred Eldred, Eric Hawthorne, Nathaniel @@ -11533,6 +11578,7 @@ of Petitioners, Eldred v. Ashcroft +Kahle, Brewster Think practically about the consequence of this extension—practically, @@ -11790,6 +11836,7 @@ would not have interfered with anything. But this situation has now changed. +Kahle, Brewster archives, digital One crucially important consequence of the emergence of digital @@ -11831,6 +11878,7 @@ Brewster Kahle, then they will lower the costs for Random House, too. So won't Random House do as well as Brewster Kahle in spreading culture widely? + Maybe. Someday. But there is absolutely no evidence to suggest that publishers would be as complete as libraries. If Barnes & Noble @@ -11936,6 +11984,7 @@ retell this story to myself, I can never escape believing that my own mistake lost it. Steward, Geoffrey +Jones, Day, Reavis and Pogue (Jones Day) The mistake was made early, though it became obvious only at the very end. Our case had been supported @@ -11960,6 +12009,7 @@ Court. It had to seem as if dramatic harm were being done to free speech and free culture; otherwise, they would never vote against the most powerful media companies in the world. + I hate this view of the law. Of course I thought the Sonny Bono Act was a dramatic harm to free speech and free culture. Of course I still @@ -12085,6 +12135,7 @@ to describe special-interest legislation gone wild. Morrison, Alan Public Citizen Reagan, Ronald +Jones, Day, Reavis and Pogue (Jones Day) The same effort at balance was reflected in the legal team we gathered to write our briefs in the case. The Jones Day lawyers had been with @@ -12313,6 +12364,7 @@ this central idea. Ayer, Don Reagan, Ronald Fried, Charles +Jones, Day, Reavis and Pogue (Jones Day) One moot was before the lawyers at Jones Day. Don Ayer was the skeptic. He had served in the Reagan Justice Department with Solicitor @@ -12738,14 +12790,15 @@ in a time of such fruitful creative ferment. The best responses were in the cartoons. There was a gaggle of hilarious images—of Mickey in jail and the like. The best, from -my view of the case, was Ruben Bolling's, reproduced in -. The powerful and wealthy line is a bit -unfair. But the punch in the face felt exactly like that. +my view of the case, was Ruben Bolling's, reproduced in figure +. The powerful +and wealthy line is a bit unfair. But the punch in the face +felt exactly like that. Bolling, Ruben -
-Tom the Dancing Bug cartoon - +
+ + Bolling, Ruben
@@ -12760,7 +12813,7 @@ better lawyer would have made them see differently. -CHAPTER FOURTEEN: Eldred II +Chapter Fourteen: Eldred II The day Eldred was decided, fate would have it that I @@ -13155,8 +13208,8 @@ controlled by this dead (and often unfindable) hand of the past. - -CONCLUSION + +Conclusion Africa, medications for HIV patients in AIDS medications antiretroviral drugs @@ -13647,6 +13700,7 @@ its lobbying efforts. Boland, Lois +Patent and Trademark Office, U.S. What was surprising was the United States government's reason for opposing the meeting. Again, as reported by Krim, Lois Boland, acting @@ -13704,7 +13758,7 @@ property system. That is, on the contrary, just what a property system is supposed to be about: giving individuals the right to decide what to do with their property. -Boland, Lois +Boland, Lois When Ms. Boland says that there is something wrong with a meeting which has as its purpose to disclaim or waive such rights, she's @@ -13778,7 +13832,7 @@ mistake. I have no illusion about the extremism of our government, whether Republican or Democrat. My only illusion apparently is about whether our government should speak the truth or not.) - + Obviously, however, the poster was not supporting that idea. Instead, the poster was ridiculing the very idea that in the real world, the @@ -13812,6 +13866,7 @@ something more than the handmaiden of the most powerful interests. 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. + If this is crazy, then let there be more crazies. Soon. @@ -13960,8 +14015,9 @@ potential is ever to be realized. - -AFTERWORD + +Afterword +copyrightvoluntary reform efforts on @@ -13982,6 +14038,8 @@ authors, musicians, filmmakers, scientists—all to tell this story in their own words, and to tell their neighbors why this battle is so important. +RCA + Once this movement has its effect in the streets, it has some hope of having an effect in Washington. We are still a democracy. What people @@ -13992,7 +14050,8 @@ sketch changes that Congress could make to better secure a free culture.
-US, NOW +Us, now +copyrightvoluntary reform efforts on Common sense is with the copyright warriors because the debate so far has been framed at the @@ -14437,9 +14496,10 @@ downloads increased, the used book price for his book increased, as well. +Leaphart, Walter Public Enemy + rap music -Leaphart, Walter These are examples of using the Commons to better spread proprietary content. I believe that is a wonderful and common use of the @@ -14509,7 +14569,7 @@ creativity to spread more easily.
-THEM, SOON +Them, soon We will not reclaim a free culture by individual action alone. It will also take important reforms of @@ -14591,7 +14651,7 @@ developed by others.
-REGISTRATION AND RENEWAL +Registration and renewal Under the old system, a copyright owner had to file a registration with the Copyright Office to register or renew a copyright. When @@ -14640,7 +14700,7 @@ of registrations that would facilitate the licensing of content.
-MARKING +Marking It used to be that the failure to include a copyright notice on a creative work meant that the copyright was forfeited. That was a harsh @@ -15518,29 +15578,30 @@ keep your lawyers away.
- -NOTES + +Notes Throughout this text, there are references to links on the World Wide Web. As anyone who has tried to use the Web knows, these links can be highly unstable. I have tried to remedy the instability by redirecting readers to the original source through the Web site associated with this book. For each link below, you can go to -http://free-culture.cc/notes and locate the original source by -clicking on the number after the # sign. If the original link remains -alive, you will be redirected to that link. If the original link has -disappeared, you will be redirected to an appropriate reference for -the material. + +and locate the original source by clicking on the number after the # +sign. If the original link remains alive, you will be redirected to +that link. If the original link has disappeared, you will be +redirected to an appropriate reference for the material. - + + - -ACKNOWLEDGMENTS + +Acknowledgments This book is the product of a long and as yet unsuccessful struggle that began when I read of Eric Eldred's war to keep books free. Eldred's @@ -15609,27 +15670,97 @@ grateful for her perpetual patience and love. + + + + About this edition + +This edition of Free Culture is the result of +three years of volunteer work. The idea came from a discussion I had +around ten years ago with a friend about the copyright debate in +Norway, and how rarely the difficulties of long copyright made it into +the public debate. A bit more than three years ago I finally had a +look again at the idea and decided to publish a printed Norwegian +BokmÃ¥l version of Free Culture, translated and +formatted by volunteers. The new English edition is a by-product of +the translation process. + + + +Thanks to the Debian Edu / Skolelinux project, I already had +experience translating Docbook documents, and it seemed like a good +format for this book too. I found a Docbook formatted version of the +book created by Hans Schou. Initial testing showed lots of Docbook +validation errors in this version, but after some work I was able to +transform it to PDF and EPUB. This was the start of the translation +project. The Docbook file improved over time, and build rules were +added to create both English and BokmÃ¥l versions. Finally, a call for +volunteers went out to help me with the translation. + + + +Several people joined, and Anders Hagen Jarmund, Kirill Miazine, Odd +Kleiva, Kjetil Kilhavn og Kjetil T. Homme assisted with the initial +translation. Ralph Amissah and his SiSu version provided index +entries. Morten Sickel and Alexander Alemayhu helped with the +figures, redrawing some of the bitmaps as vector images. Wivi +Reinholdtsen, Ingrid Yrvin, Johannes Larsen and Gisle Hannemyr did +very valuable proofreading. HÃ¥kon Wium Lie helped me track down a +good replacement font without usage restrictions instead of the one in +the original PDF. The PDF typesetting is done using dblatex, which we +selected over the alternatives thanks to the invaluable and quick help +from Benoît Guillon and Andreas Hoenen. Thomas Gramstad donated ISBN +numbers needed for distribution to book stores. Marc Jeanmougin from +the inkscape community helped me replicate the original front cover. +The support of Lawrence Lessig helped me to complete the +project—I am very thankful he had the original screen shots +still available after 11 years. + + + +At the end of the project, when the translation was done and it was +time to publish, NUUG Foundation was asked and was willing to sponsor +books to members of the Norwegian parliament and other decision +makers. + + + +In addition to these great contributors, I am very grateful to Mari +and my family for their patience with me in this project. + + + +— Petter Reinholdtsen, Oslo 2015-09-07 + + + + -This digital book was published by Petter Reinholdtsen in 2014. +Free culture: How big media uses technology and the law to lock down +culture and control creativity / Lawrence Lessig. -The original hardcover paper book was published in 2004 by The Penguin -Press, a member of Penguin Group (USA) Inc. 375 Hudson Street New -York, New York. +Copyright © 2004 Lawrence Lessig. Some rights reserved. + + + + + -Copyright © Lawrence Lessig. Some rights reserved. +Published in English and Norwegian BokmÃ¥l 2015 by Petter Reinholdtsen +with help from many volunteers. Typeset with dblatex using the font +Crimson Text. + -This version of Free Culture is licensed under -a Creative Commons license. This license permits non-commercial use of -this work, so long as attribution is given. For more information -about the license, click the icon above, or visit -http://creativecommons.org/licenses/by-nc/1.0/ +First published 2004 by The Penguin Press. + Excerpt from an editorial titled The Coming of Copyright Perpetuity, The New York Times, January @@ -15637,101 +15768,128 @@ Perpetuity, The New York Times, January with permission. -Cartoon in by Paul -Conrad, copyright Tribune Media Services, Inc. All rights +Cartoon in figure + by +Paul Conrad, copyright Tribune Media Services, Inc. All rights reserved. Reprinted with permission. -Diagram in +Diagram in figure + courtesy of the office of FCC Commissioner, Michael J. Copps. + -Library of Congress Cataloging-in-Publication Data +Cover created by Petter Reinholdtsen using inkscape. + -Lessig, Lawrence. -Free culture : how big media uses technology and the law to lock down -culture and control creativity / Lawrence Lessig. +The quotes on the cover came from +. + + +Portrait on the cover was created 2013 by ActuaLitté and licensed +under a Creative Commons Attribution-ShareAlike 2.0 license. It was +downloaded from +. + + -p. cm. +Classifications: + + +(Dewey) +306.4, +306.40973, +306.46, +341.7582, +343.7309/9 + + + +(UDK) 347.78 + + + +(US Library of Congress) KF2979.L47 2004 + + + +(ACM CRCS) K.4.1 + + + +Thomas Gramstad Forlag donated the ISBN numbers. + + + +Printing was sponsed by NUUG Foundation, +. + + Includes index. + + + +The Docbook source is available from +. +Please report any issues with the book there. + + + + + + + +This book is licensed under a Creative Commons license. This license +permits non-commercial use of this work, so long as attribution is +given. For more information about the license visit +. + + + +This book is a proof reading draft. Please visit the github URL above +to get the latest version. + + - ISBN Format / MIME-type + ISBN - 978-82-92812-XX-Y - text/plain + US Trade edition from lulu.com + 978-82-8067-010-6 - - 978-82-92812-XX-Y application/pdf + 978-82-8067-011-3 - 978-82-92812-XX-Y - text/html - - - 978-82-92812-XX-Y application/epub+zip + 978-82-8067-012-0 - 978-82-92812-XX-Y - application/docbook+xml - - - 978-82-92812-XX-Y application/x-mobipocket-ebook + 978-82-8067-013-7 - -1. Intellectual property—United States. - - -2. Mass media—United States. - - -3. Technological innovations—United States. - - -4. Art—United States. I. Title. - - -KF2979.L47 2004 - - -343.7309'9—dc22 2003063276 - - - -The source of this version of the text is written using DocBook -notation and the other formats are derived from the DocBook source. -The DocBook source is based on a DocBook XML version created by Hans -Schou, and extended with formatting and index references by Petter -Reinholdtsen. The source files of this book is available as -a -github project. - - - -&translationblock; - -